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^f^he Merchant 
ZSZ5 q£ Venice 





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COPYRIGHT DEPOSIT. 



Cfte T5arne0 aEngU0t) Ce«0 



GENERAL EDITOR 



EDWIN FAIRLEY 

HEAD OF THE ENGLISH DEPARTMENT, JAMAICA HIGH SCHOOL, 
NEW YORK CITY 



Cl)e T5arne$ (Bnsli^b Cett0 

GENERAL EDITOR 

EDWIN FAIRLEY 

Head of the Department of English, 
Jamaica High School, New York City 

POE, LONGFELLOW, WHITTIER: 

The Raven, The Courtship of Miles Standish, Snow- 
bound. One volume. 

Edited by Charles Elbert Rhodes, Head 

of the Department of English, Lafayette 

High School, Buffalo, N.Y. 

STEVENSON: 

Treasure Island 

Edited by Ferdinand Q. Blanchard 

ELIOT: 

Silas Marner 

By the General Editor 

HAWTHORNE: 

The House of the Seven Gables 

Edited by Emma F. Lowd, Head of Depart- 
ment of English, Washington Irving High 
School, New York 

SHAKESPEARE: 

Julius Coesar 

Edited by Charles Addison Dawson, Ph.D., 
Head of the Department of English, Central 
High School, Syracuse, N.Y. 
Merchant of Venice 

Edited by Charles Robert Gaston, Ph.D., 
Head of the Department of English, Rich- 
mond Hill High School, New York City 
Macbeth 

Edited by Clarence W. Vail, Manual Train- 
^ ing High School, Brooklyn, N.Y. 

AMERICAN POEMS: 

Edited by Ernest Clapp Noyes, Depart- 
ment of English, Peabody High School, 
Pittsburgh, Pa. 



Cbe T5arne0 OBngli^t) Cett0 



THE MERCHANT OF VENICE 



By WILLIAM SHAKESPEARE 

M 

EDITED BY 

CHARLES ROBERT GASTON, Ph.D. 

HEAD OF THE ENGLISH DEPARTMENT, RICHMOND HILL HIGH 
SCHOOL, NEW YORK CITY 



m 



NEW YORK 

THE A. S. BARNES COMPANY 

1914 



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COPYRIGHT I9I4> BY 
THE A. S. BARNES COMPANY 



JUN~9I9I4 

THE'PLIMPTON'PRESS 
NORWOOD'MASS'U-3'A 

©CLA376244 



PREFATORY NOTE 

In the preparation of this edition of a Shakespearian 
play, the editor has had constantly in mind the read- 
ing of the play as a play. Shakespeare meant that 
his audiences should have some rollicking fun out of 
The Merchant of Venice. It would be a shame for 
boys and girls to read the play in school without 
feeling something of the spirit of fun in the comedy. 
Hence, in the introductory material and in the com- 
ments, topics, and questions at the back of the book 
there is nothing that ought to take the pupil's mind 
away from the great, outstanding point that The 
Merchant of Venice is a good lively comedy to be en- 
joyed today as well as it was enjoyed by the happy 
Elizabethan audiences. 

The editor wishes to acknowledge his indebtedness 
to the Variorum edition of Furness and to the useful 
suggestions given to him by his wife during the prep- 
aration of the present edition. 



CONTENTS 

PAGE 

Prefatory Note v 

Who Was Shakespeare ? ix 

The Merchant of Venice as a Play xii 

The Merchant of Venice as Literature xvii 

Suggestions for Class Dramatization xx 

Reference Books xxiv 

Text of The Merchant of Venice 3 

Detailed Questions of the Play 103 

Comments, Topics, and General Questions 107 

Program of Dramatic Entertainment Ill 

Glossary . 114 



WHO WAS SHAKESPEARE? 

There are so many conflicting views about Shakespeare 
that the average person frequently asks the question, Who 
was Shakespeare? The answer can be briefly given. His 
birthplace was Stratford-on-Avon, and he was born in 1564. 
The register in the Stratford parish church shows that Wil- 
liam Shakespeare was baptized there in April of that year. 
His mother was Mary Arden, daughter of a well-to-do farmer. 
His father was a prosperous man who became head alderman 
of Stratford when his son was seven years old, but who later 
failed in business. The birth-house, still standing and pre- 
served as a museum for Shakespeare relics, was a substantial, 
half-timbered structure better than the usual run of English 
country-town homes. William Shakespeare had a distinctly 
better send-off than most of the boys of his town. 

In his youth he went to the Stratford grammar school, 
where he obtained the foundations for further reading. He 
very hkely studied Latin in the grammar school, for that 
was one of the usual subjects, and possibly he studied Greek. 
Somewhere he learned a little French. He became so much 
interested in reading that he did a good deal of it during 
his life, as his method of work which is presently to be 
explained clearly indicates. 

When strolling players or regular companies of actors 
came to Stratford at the invitation of the town council, 
young Shakespeare was not the last among the lads of the 
town to defy the Puritan sentiment of the day and go and 
revel in the plays presented. It is not certain precisely 
what it was that sent Shakespeare to London by and by to 
earn his Hving. It may have been a" desire to go on the 
stage. It may have been the urgent necessity of providing 
as well as possible for his wife and three children. It may 
have been merely the lure of the big city to the young man 
from the country town. At any rate, Shakespeare made the 



X WHO WAS SHAKESPEARE? 

hundred mile journey to London about 1586, and began 
working around the theater at odd jobs. He boarded with 
a French family, the Mountjoys, whose name is remembered 
now, only because of their having had as a lodger a man 
who became one of the greatest of authors. Plays were 
given then on the south bank of the Thames, outside the 
city Hmits, owing to the state of feehng on the subject of 
playgoing. Shakespeare joined Lord Leicester's company 
of players, first as an under-study and then as a regular 
actor. 

Soon he was composing plays himself. There was a 
steady demand for plays, since audiences insisted on novel- 
ties. Two or three weeks sufficed to tire the audiences of 
almost every play presented, and something new was con- 
stantly sought for. Shakespeare began to satisfy the demand 
by re-furbishing old plays and gained considerable skill as 
a practical playwright. He would take, too, a book that 
he had read and that he found to have some dramatic idea 
in it and work the book over into a good play. For instance, 
he did this with a tiresome novel, "Rosalynde," and made 
a beautiful little comedy. As You Like It. He did it also with 
North's translation of Plutarch's lives of famous Romans 
and made the stirring, full-blooded tragedy of Julius Ccesar. 
When he was about thirty years old, he did this sort of thing 
supremely well when he produced The Merchant of Venice. 
In this he combined an old English ballad, a play that has 
since been lost, and a translated Italian novel into one 
artistic comedy. 

Some of his plays, as The Merchant of Venice, were pub- 
lished during the life of their author, but most of them did 
not appear in print till after his death. The Merchant of 
Venice was first printed in 1600. As men who wrote plays 
did not consider publication worth while, publishers some- 
times obtained the words of popular plays from actors who 
had learned the lines or from manuscript copies used by 
companies in their rehearsals of the plays. A printer named 
James Robertes first pubhshed The Merchant of Venice. It 
is considered probable that he had as the basis for the text 



WHO WAS SHAKESPEARE? xi 

of his edition, which is known as the First Quarto, a manu- 
script written by Shakespeare himself. 

Shakespeare was a convivial spirit, enjoying meetings 
with his friends in the London taverns. His plays abound 
in realistic pictures of scenes with which he became familiar 
while he was spending his time in talk and song at the taverns. 
Here he acquired knowledge of all kinds of human charac- 
teristics and people. There was a perfect swarm of enthu- 
siastic young dramatists who frequented the London inns. 
Among Shakespeare's boon companions were some of the 
most popular playwrights of the time, like Christopher Mar- 
lowe, the best known of all. As a step beyond writing plays 
Shakespeare became part owner of a theater and made 
what was considered a fortune in those days. 

His relations with his family during this time are not 
entirely clear. While he was prospering in London, he 
provided for his family in Stratford, and his wife and chil- 
dren he appears to have visited at infrequent intervals. 
His son died in 1596; his father, in 1601. In 1597 Shake- 
speare bought a pretentious estate in Stratford, which he 
leased for a term of years; he did not move there him- 
self till four years before his death. He was looked up to 
as one of the important personages of his native city, and 
secured a coat of arms for his family. 

In 1616, on April 23, his birthday, he died, leaving in 
Stratford a good many people who loved him well, in Lon- 
don a number of friends who respected his powers and had 
affectionate regard for him, and in England a larger body 
of people who had heard of the playwright and actor mana- 
ger, William Shakespeare. It was not until years after his 
death that his reputation became world-wide. 

How can we account for Shakespeare's having been able 
to write his great plays? The answer is a little complicated. 
We often ask how some great person was able to accom- 
plish some great deed and find it difficult to give a direct 
answer. There are usually combinations of circumstances 
that make the great work possible. In Shakespeare's case a 
number of facts help us to come to some sort of understand- 



xii WHO WAS SHAKESPEARE? 

ing as to how he did what he did. He had a good start in 
a good town and came from good stock. He had enough 
schooHng to want to learn things by reading. He had 
enough adversity to call out his best powers. He met enough 
people to get insight into all kinds of life; he certainly knew 
hosts of folks. He knocked around in the big city enough 
to realize how immensely diversified and yet how funda- 
mentally simple human nature is. He had practical appren- 
ticeship in the theater. He learned just what people liked, 
and he had an extraordinary knack in giving it to them. 
He worked prodigiously, yet he had plenty of time for 
relaxation in social companionship. His craftsmanship or 
skill as a literary and dramatic workman came as a result 
of his steady, long-continued work. His technical ex- 
cellence might not have given him fame, but sweeping 
through all his work and making it all permanently valu- 
able was his grasp of human nature; it was this power of 
understanding people that made his work of abiding 
value. He charted human nature, like a man making a 
map of the world. This he was able to do because of his 
range of acquaintance, his sympathy with the high and the 
low, the rich and the poor, noblemen and commoners. He 
is as fresh today as when his plays were first acted. We 
account for his lasting quality by saying that he was a 
real, big-hearted, companionable human being — and that 
he was a genius. He had the magic power of changing 
commonplace or generally known stories into universally 
appreciated plays abounding in lifelike characters. 

THE MERCHANT OF VENICE AS A PLAY 

The word play hardly needs definition in these days when 
playgoing is the most popular indoor diversion. Almost 
every one knows that a play is a performance of a story 
by actors for the pleasure of an audience. Not all play- 
goers, however, know a good play from an inferior one. 
If the reading of The Merchant of Venice in school will cul- 
tivate in boys and girls a taste for what is good in drama. 



THE MERCHANT OF VENICE AS A PLAY xlli 

surely the time spent will be fruitful. There is hardly any 
one so benighted as not to desire an appreciation of the 
best things in the world. The gaining of a taste for what 
are the best things in literature and art and music is one of 
the most valuable results of education. Good plays are not 
like olives, which some people can never acquire a taste 
for; a taste for good plays comes easily. After reading a 
play like The Merchant of Venice, students should have 
fairly well defined ideas of what are good plays and what 
are inferior plays. 

Some pla^^goers are not familiar with the technical dis- 
tinction between comedy and tragedy as special varieties 
of dramatic performances. A comedy comes out happily, 
a tragedy ends in misfortune. There are smiles in come- 
dies, tears in tragedies. A comedy abounds in humorous 
talk and comical situations; a tragedy contains wise and 
solemn sentiments and terrifying, gloom-producing situa- 
tions. The general air of one is bright and cheery, of the 
other dark and sorrowful. Yet each may be splashed a 
little with the qualities of the other, for the sake of contrast. 
In a comedy things may look serious for the hero, but he 
is able to buffet aside his troubles and ride the waves to a 
happy ending. In tragedy, scenes of drunken humor or 
witty remarks here and there may lend emphasis to the 
prevailing despair which enguKs the hero in the end when 
he is borne down by the circumstances which he cannot 
control. 

The Merchant of Venice is a comedy. When Shakespeare 
wrote the play he wanted a theme that would appeal to his 
audience as humorous. He wanted somebody to hold up 
on the. center of the stage for ridicule. If he had been writ- 
ing in our day he might have taken an Irishman, for Irish- 
men have long been centers for amusement on the modern 
stage. Or he might have taken a colored man and had him 
open his mouth wide and show his red lips and white teeth 
and seem funny. He might have taken a farmer and had 
the audience laugh at his discomfiture when some one sold 
him a gold brick. Instead, he took a Jew and held him 



xiv THE MERCHANT OF VENICE AS A PLAY 

up to ridicule. This is not any indictment of Jews in gen- 
eral, and people who read the play now do not so take it. 
In fact some of the most celebrated actors make out Shake- 
speare's great comic character, Shylock, to be more sinned 
against than sinning. They make the audience sympa- 
thize with Shylock; they smooth out with a sort of spir- 
itualized interpretation the rough comedy element which 
Shakespeare intended to put into his characterization of 
Shylock. 

The fact is that there was in London about the end of 
the sixteenth century a strong feeling against Jews. Mar- 
lowe had won success with his tragic drama, The Jew of 
Malta, with which Shakespeare was familiar. Moreover, 
a certain Jewish physician had roused the hatred of the 
populace by attempting to poison Queen Elizabeth. It is 
extremely probable that Shakespeare brought out his Mer- 
chant of Venice when he did, in order that he might take 
advantage of a feeling of the day and have large and sat- 
isfied audiences. The rough characterization of Shylock, 
then, is to be taken as just the sort of thing that a drama- 
tist with his ear to the ground would do now; it is not an 
insult to Jews of today in any sense. Nowhere in the world 
are people of that race more protected than in the English- 
speaking nations. Shakespeare merely put his comedy on 
the stage at the time when he did and of the kind that he 
chose, in order to appeal to the taste, feelings, and preju- 
dices of the end of the sixteenth century in London. Authors 
of the early, crude religious plays had made Judas or the 
Devil the comic hero; Shakespeare held Shylock similarly 
up to ridicule, for Shakespeare knew that his audience would 
relish the comic characterization. 

In Shakespeare's comedy of The Merchant of Venice are 
blended two main stories or plots which are intertwined 
with each other and with an interesting little romantic sub- 
ordinate story. Remember — plot means pith of a story. 
In the study of Hterature, plot does not necessarily mean 
some attempt to take a person's life or steal his property 
or overthrow his government, though plots of stories some- 



THE MERCHANT OF VENICE AS A PLAY xv 

times cover such actions as these. The plot of a play is 
the main series of happenings. The Merchant of Venice 
contains two main series or plots. The title-page of one 
of the early editions of the play, the Second Quarto pub- 
lished in 1600, suggests the two main plots. Here is the 
title-page, the vertical hues marking what were ends of lines 
as the title-page was originally printed: 

The most excellent | Historie of the Merchant [ of Venice | With 
the extreame crueltie of Sliylocke the Jewe | towards the sayd Mer- 
chant, in cutting a just pound | of his flesh: and the obtayning of 
Portia I by the choyse of three chests. | As it hath beene divers 
times acted by the Lord | Chamberlaine his Servants. | Written 
by William Shakespeare. | At London, | Printed by I. R. for Thomas 
Heyes | and are to be sold in Paules Church-yard, at the | signe of 
the Greene Dragon. | 1600. [ 

The first main plot is the one centering around the attempt 
of the Jewish money lender, Shylock, to obtain a pound 
of the flesh of his business rival, the merchant of Venice, 
Antonio. Antonio, in order to accommodate his friend 
Bassanio, who desires money to go to Belmont to court 
a beautiful heiress named Portia, borrows a sum of money 
from Shylock. As Antonio thinks his ships will be in port 
long before the expiration of the three months for which he 
borrows the money, he signs a bond giving Shylock the 
right to cut off a pound of flesh from Antonio if the loan 
is not repaid on time. Shylock pretends to make the con- 
dition merely in sport, but he really hopes to get revenge 
on Antonio for lending money without interest and for 
spitting on Shylock and generally abusing him. V^hen 
the time comes, Antonio has not the money to pay, 
and Shylock demands his pound of flesh. He is foiled 
through the legal interpretation of Portia, who impersonates 
a lawyer. Shylock has to agree to become a Christian, to 
give half his property to Antonio to use for Shylock's 
son-in-law, and has to agree to make a deed giving to 
his daughter and his son-in-law all the property that he 
shall be possessed of at his death. In this main plot 
are included a number of less important characters, like 



xvi THE MERCHANT OF VENICE AS A PLAY 

Gratiano, who tries to cheer up the serious-minded Anto- 
nio, but these minor characters and happenings need not 
be included in a summary of the first main plot. This story 
may be called the Antonio-Shylock story, or the bond story. 

The second main story centers around Bassanio and Por- 
tia. Bassanio, with the money secured by Antonio from 
Shylock, fits out his retinue and goes to Belmont, not far 
from Venice, there to try to win the heiress Portia as his 
wife. He is successful in choosing the one of the three chests 
or caskets which contains Portia's picture and so by the 
terms of her father's will he marries her. As she loves him 
anyway, the choice of the caskets has proved doubly for- 
tunate. Gratiano, a friend of Bassanio and Antonio, gains 
permission to marry Nerissa, the lady attendant upon Por- 
tia. While the company are rejoicing at Belmont, news 
comes of Antonio's plight. Bassanio hurries off to do what 
he can, but his efforts seem vain. Portia has followed her 
husband, disguising herself as a lawyer. Receiving instruc- 
tions from a learned jurist, she is able to save Antonio from 
Shylock's revenge. After the trial is over she returns to 
Belmont, where she is soon joined by Bassanio and Gratiano. 
This main story is known as the Bassanio-Portia story. It 
also includes in its action several characters not named in 
the above summary, and obviously some of the characters of 
this casket story are important figures also in the bond story. 

The romantic side story to which reference has been made 
has to do with the family affairs of Shylock. He has a 
lovely daughter, Jessica, unlike him in every respect; where 
he is a miser, she is a spendthrift; where he hates the 
Christians, she admires them and loves one of them; where 
he is harsh and severe, she is kind and gentle. She flees his 
home, taking with her some of his treasure, and marries a 
Christian, Lorenzo. Lorenzo and Jessica are entertained 
at Belmont and take care of the estate while Portia and 
Bassanio are trying to save Antonio in Venice. 

The play is, then, a comedy, with the principal elements 
as mentioned in the preceding summaries. The comical 
talk and situations need some study. Punning is a consid- 



THE MERCHANT OF VENICE AS LITERATURE xvii 

erable part of the humor in Ehzabethan plays. Attempts 
to play on words make up the humor in some scenes. This 
verbal fencing is not so much appreciated and enjoyed by 
modern audiences as it was by those in Shakespeare's 
time. Cascades of sententious talk lend a touch of gaiety 
to the conversation of such characters as Gratiano. There 
is, too, a chance for buffoonery in the play, especially in the 
actions of the young servant Launcelot Gobbo, who sky- 
larks with his blind father. The ring incident or episode 
is also a comical situation, affording actors a chance for 
fun-making by facial expression, gestures, etc. — by what 
is technically called stage business. Playgoers will find it 
entertaining to turn over in their minds after a good per- 
formance of The Merchant of Venice just what parts of the 
play made the spectators laugh and what it was about the 
amusing parts that made the audience think them amusing. 
A study of the witty remarks and the comical situations 
will well repay the reader of the play. 

As a good play. The Merchant of Venice goes even ahead 
of Shakespeare's other comedies in its lively, interesting, 
and human characters. In good plays, the people seem pos- 
sible, seem to show traits that we have seen in real life. Let 
the student of the play try to find from his own experience 
parallels to the persons of this Shakespearian drama. While 
being a good acting play, The Merchant of Venice has also 
much merit as a literary composition. Let us consider this 
phase of the play separately. 

THE MERCHANT OF VENICE AS LITERATURE 

The Merchant of Venice is acknowledged to be a master- 
piece of literature. It is written in both prose and poetry. 
The prose is excellent of its kind. Sometimes it is well 
balanced, formally correct. Sometimes it is informal in the 
extreme, even ungrammatical. But the greater part of the 
play is written in verse form. 

The form of poetry adopted by Shakespeare for his plays, 
including The Merchant of Venice, is known as blank verse. 



xviii THE MERCHANT OF VENICE AS LITERATURE 

In this kind of verse the Hnes are unrhymed. That is, the 
end of a hne has not the same sound as the end of the next 
or of some corresponding hne. Each hne contains five 
accented syllables. Each accented syllable is preceded by 
an unaccented syllable. Read the lines that follow, pro- 
nouncing the words with the accent where it ordinarily 
belongs in each word, and you will see what representative 
Hnes of blank verse look like and sound hke: 

You have too much respect upon the world: 
They lose it that do buy it with much care. 

(I, 1, 74-75) 

That light we see is burning in my hall. 
How far that little candle throws his beams! 

(V, 1, 89-90) 

The technical name for a hne of poetry constructed like 
those just given is 

Iambic Pentameter. 

Iambic has reference to the relative position of the ac- 
cented and unaccented syllables. A group consisting of an 
unaccented syllable followed by an accented syllable is 
called an iambic foot. 

Pentameter has reference to the number of feet in a line. 
A line containing five feet is called a pentameter line. 

There are in Shakespeare's The Merchant of Venice many 
variations from this standard type of line. Some of the 
pentameter lines show considerable change from the standard 
type illustrated above. Point out the variations that you 
discover in the following lines selected from the first act of 
the play. One can sometimes remove the irregularity by 
pronouncing the words differently from the current way of 
pronouncing them; for instance, accent Portia on the first 
and the last syllable, and you find one of the hnes resolving 
itself into a regular iambic pentameter line. 

Your mind is tossing on the ocean (I, 1, 8). 

Vailing her high-top lower than her ribs (I, 1, 28). 

Not in love neither? Then let us say you are sad (I, 1, 47). 



THE MERCHANT OF VENICE AS LITERATURE xix 

Lie all unlocked to your occasions (I, 1, 139). 

To find the other forth, and by adventuring both (I, 1, 143). 

To Cato's daughter, Brutus' Portia (I, 1, 166). 

I hate him for he is a Christian (I, 3, 40). 

Shylock, although I neither lend nor borrow (I, 3, 59). 

Is not so estimable, profitable neither (I, 3, 156). 

There are some passages written in only four feet to a 
line, and some passages show rhyme. The writing on the 
scroll in the caskets, for instance, is in a different measure 
from the usual form of line in the play, and is in rhyme also 
instead of being unrhymed. 

A curious effect for variety is obtained by some of the 
short lines of the play, such as this: 

I am to learn (I, 1, 5). 

Another variation comes from the starting of a line by 
one speaker and the taking up of the line by the next speaker 
so as to complete it. From parts of the speeches of two 
persons one pentameter line is thus produced: e.g.. 

Ant. And mine a sad one. 

Gra Let me play the fool. 

(I, 1, 79) 

Besides following, for the most part, a regular form of 
versification, the play abounds in groups of lines which 
from their contents and method of expression have appealed 
to lovers of poetry as showing a high order of poetic beauty. 
Two of these groups may be selected as examples for special 
comment. "The man that hath no music in himself" is a 
phrase sure to be appreciated when it is quoted in the edi- 
torial column of a newspaper or by some one in casual con- 
versation. The passage from which the line is taken is very 
well known for its good idea and its beautiful expression. 
Yet in one of the allusions in it, it suggests one of the 
difficulties which some persons find in appreciating Shake- 
speare to the full. 

"And his affections dark as Erebus." 



XX CLASS DRAMATIZATION 

When the dramatist speaks of the affections of a person 
who does not hke music as being as dark as Erehus, he is 
using a classical reference which is not widely known now- 
adays. Similar allusions here and there make the full 
comprehension and appreciation of some of the most poetic 
passages difficult for beginners. The more one has read in 
classic literature, the better one can understand at first 
reading poetic allusions such as the one contained in 
Lorenzo's oft-quoted discussion on the subject of music. 

More famous than the quotation just referred to is the 
passage that forms a turning-point in the play, the passage 
in which Portia, just about to pronounce judgment against 
Shylock, suggests to him the virtue of mercy. This speech, 
coming as it does just before the chmax of the bond story, 
is in a particularly impressive position in the play; and 
the speech is worthy of its position. See the simple lan- 
guage of the selection. Attribute is about the hardest word 
in it. Listen to the rhythmic ease of the fines as you read 
them aloud to yourself. Observe the comparisons by which 
the speaker tries to make clear what the quafity of mercy 
is. Notice, above aU, the lofty tone of the sentiment. In 
"John Hafifax," a character of the story preaches a sermon 
on the sentence, 

" It is twice blest; 
It blesseth him that gives, and him that takes: 
'Tis mightiest in the mightiest." 

Altogether from its language and central idea, the " quality 
of mercy " speech has unquestioned claims to the popularity 
which it enjoys. 

These two selections are merely examples illustrating the 
poetic beauty which the discerning wiU enjoy here and there 
in The Merchant of Venice. 

SUGGESTIONS FOR CLASS DRAMATIZATION 

No reading of The Merchant of Venice by a wide-awake 
class would be complete without some sort of dramatiza- 
tion of the play. In some cases the crudest sort of presen- 



CLASS DRAMATIZATION xxi 

tation of short scenes may be all that can reasonably be 
expected from the class. For example, the day before a 
meeting of the class the teacher may ask Mary Smith to be 
Portia and John Jones to be Morocco, and then when the class 
meets these two persons of the drama may read the first 
scene of the second act with their books open. If the teacher 
has had time to discover any latent dramatic ability, she 
may ask a particularly clever young fellow to try the part 
of Launcelot and another the part of Gobbo in the second 
scene of the second act. This will pass off fairly well with 
even a poor reading, but will be relished hugely if presented 
from memory by two lively boys standing in front of the 
class. If the class consists of all girls or all boj^s, the dram- 
atization will be possible nevertheless, for it is well known 
that in the women's colleges successful performances of 
Shakespearian plays are given by the young women and in 
Shakespeare's time the women's parts were taken by young 
boys. Boys and girls now are able to do the simple drama- 
tizations here recommended. 

But the best results from class dramatization usually 
come from some sort of volunteer presentation. Let the 
class organize early in the semester into a dramatic club, 
with regularly chosen officers or a committee, one member 
of which is chosen as coach. Let it be understood from the 
beginning that an entertainment is to be given before the 
end of the reading of the play, and that all details are to be 
in the hands of members of the class dramatic society, with 
the teacher as only an advisory member. Then, along to- 
ward the end of the study, instead of assigning for some 
day as a lesson a general review of the play, let the teacher 
give an assignment something like this: 

Entertainment by the Class Dramatic Society. 
As the members of the society will have been preparing 
for such an announcement from the very beginning of the 
reading of the play, the announcement will not take the 
class by surprise. Rehearsals will already have been held 
and details perfected for a simple little presentation of se- 



xxii CLASS DRAMATIZATION 

lected portions of the play — enough to fill the period full 
of pleasure for the participants and the hearers. It would 
be futile to attempt to give more explicit suggestions than 
these for the dramatization, inasmuch as the brains and 
powers of high school pupils have been proved by experi- 
ence admirably adapted to the carrying out of simple, effective 
dramatizations of The Merchant of Venice. In an appendix, 
one plan worked out by a class recently is given in full. The 
teacher, as adviser of the dramatic society of the class, will 
have given aid where needed for the selection of enough from 
the play to make a consecutive, intelligible performance. 
Sometimes not even so much help as this is needed by the 
class, because the elements of mystery and surprise and 
voluntariness are powerful factors in school work. 

Enhanced interest in the final performance will usually 
be secured by a preliminary educational campaign something 
like this. Let the teacher try to arouse intelligent interest 
in Venice by securing herself or asking students to secure 
copies of Venetian scenes or of paintings that deal with Venice. 
For instance, postal card pictures of the grand canal and the 
Doges' Palace are readily obtainable. Copies of Venetian 
paintings by Turner are fairly common. If there is a local art 
gallery the class may very profitably be taken there to see any 
pictures of Venetian scenes. Millais's beautiful representation 
of Portia may be procurable in copy; the original is in the 
Metropohtan Museum, in New York City. Students may 
possibly be able to bring examples of Venetian glass or of 
Venetian inlaid stick pins, or something of the sort. Cer- 
tain students may be assigned the pleasant work of finding 
out something about the history and geography of Venice. 
Some one may be able to tell a good deal about gondolas. 
The idea is to cultivate before the performance as wide a 
range of sense impressions about Venice as possible; for by 
the enrichment of the pupils' minds in these respects the 
entire lack of scenery in the class presentation will not be 
a hindrance at all. Rather it will give the student actors 
the better opportunity of creating something of a dra- 
matic atmosphere, something of the real illusion which after 



CLASS DRAMATIZATION xxiii 

all is the fundamental sense pleasure of theatrical perform- 
ances. 

Again, the understanding at the beginning that there is 
to be a performance of selections from the play will serve 
as an incentive to attentive reading with the idea of master- 
ing the pronunciation of words and the acquiring of a sense 
for rhythmical delivery of the blank verse. The students 
will all desire to be able to express intelligent judgments 
as to the success of the performers in rendering the Unes 
as they ought to be rendered. 

Of course, the greatest incentive of all will be to read the 
play with enough attention to be able to have a rational 
appreciation of the shadings of character. Thus the class 
will desire to find out what should be the best interpreta- 
tion of the character of Shylock, how such minor characters 
as Gratiano and Lorenzo should be played, how the speeches 
of the clown should be presented, and what should be the 
mental and moral characteristics of Portia in the final pres- 
entation. With such a motive as this inspiring the work, 
work becomes in the nature of play. 

Finally, however, a word should be said in behalf of those 
teachers who are conservative regarding dramatic perform- 
ances. There are some teachers who feel that young peo- 
ple are already too prone to enjoy dramatic representations. 
Such teachers will undoubtedly prefer to limit class drama- 
tization to the simple reading of selections aloud as outlined 
at the beginning of this section of the introduction. They 
will use this oral reading of the play as a means for bring- 
ing forward the backward and shy pupils who might not be 
reached at all with only a final, more carefully prepared and 
rehearsed dramatization. In such cases the aim of the 
teacher will be to draw out the shy and timid ones in the 
informal reading or speaking of the parts, as well as to arouse 
to their best efforts those who are more eager to get into the 
limehght. Thus, even without a final performance, the 
whole class may become thoroughly interested and excited 
by the stirring story contained in The Merchant of Venice. 



REFERENCE BOOKS 



REFERENCE BOOKS 

1. The Variorum Shakespeare. The Merchant of Venice. 
Edited by Horace Howard Furness, Ph.D., LL.D., L.H.D. J. B. 
Lippincott Company, Philadelphia, 1888. 

This volume is indispensable for the teacher and very interesting 
to the pupil. The boys and girls who are interested in proper cos- 
tumes, music for the songs, celebrated actors, or the feeling in the 
sixteenth and early seventeenth century toward Jews in England 
will find it delightful to browse around in the Variorum edition of 
the play. 

2. A Catalogue of the Dramatic Museum of Columbia University, 
in the City of New York. 

This pamphlet may be obtained by teachers who will write to 
the university for it. The prefatory note by Professor Brander 
Matthews is particularly valuable in giving a sane and interesting 
point of view for approaching the study of a drama. On page nine 
of the catalogue there is a description of a model of the Fortune 
Theater. As this theater was a reproduction of the Globe Theater 
for which Shakespeare wrote his plays any person who desires to 
see the conditions which confronted Shakespeare should visit the 
museum and study this model. 

3. Albright, Victor Emanuel. "The Shaksperian Stage." 
Columbia University Press, 1909. 

Though too technical for school readers, this treatise, especially 
chapter IH, "A Typical Shaksperian Stage," will be of value to 
teachers. Here is an example of the sort of thing to be found : 

" In certain scenes, a hanging was drawn across some part of the 
inner stage for the purpose of concealing some person or small object 
from the characters already using most of the inner stage and the 
outer." The application of this to Act II, Scene 7 of The Merchant 
is easily made. 

4. Winter, William. "Shakespeare on the Stage." Moffat, 
Yard & Co., 1911. 

5. Archer, William. "About the Theatre." 
Pages 239-258 treat of Shakespeare and the Public. 

6. Archer, William. "The Theatrical World of 1897." 

A good example of modern dramatic criticism is to be seen in Mr. 
Archer's comments in the "World" on Mr. Ben Greet's presenta- 
tion of The Merchant of Venice at the Olympic Theater in May and 
June, 1897. 



REFERENCE BOOKS xxv 

7. Jenks, Tudor. "In the Days of Shakespeare." The A. S. 
Barnes Company, 1905. 

8. Winter, William. " Shakespeare's England." 

9. Stephenson, H. T. "Shakspere's London." 

10. Fleming, William Hansell. "Shakespeare's Plots: a 
Study in Dramatic Construction." G. P. Putnam's Sons, 1902. 

The study of The Merchant of Venice occupies pages 137-231. 
The author holds that the Main Action of this drama is the wooing 
of Portia by Bassanio, and all the consequences thereof. 

11. Moulton, Richard Green. "Shakespeare as a Dramatic 
Artist " and " Shakespeare as a Dramatic Thinker." 

12. Lee, Sidney. "A Life of William Shakespeare." London, 
1898. 

Possibly the best biography of Shakespeare. 

13. Mabie, H. W. "William Shakespeare: Poet, Dramatist 
and Man." The Macmillan Co., 1900. 

This edition, containing one hundred illustrations, is an excellent 
means for making facts about Shakespeare vivid to the pupil's 
mind. The frontispiece is the Chandos portrait from the National 
Portrait Gallery (London), the most human picture of Shakespeare. 

14. Brandes, Georg. "William Shakespeare: A Critical 
Study." English translation by William Archer. Two volumes, 
London, 1898. 

Pages 134-140 of Vol. I give significant facts which in the opinion 
of the biographer show that Shakespeare visited Italy; for instance, 
"Of Venice, which Shakespeare has so livingly depicted, no descrip- 
tion was published in England until after he had written his Mer- 
chant of Venice." Pages 178-202 give one of the best discussions of 
The Merchant of Venice, particularly with regard to the sources of 
the play, the contemporary attitude toward Jews, Shakespeare's 
knowledge of business, etc. 

15. Harris, Frank. "The Man Shakespeare and His Tragic 
Life-Story." New York, 1909. 

16. Raleigh, Walter Alexander. "Shakespeare." English 
Men of Letters Series. New York, 1907. 

17. Rolfe, W. J. "A Life of William Shakespeare." Boston, 
1904. 

The third chapter contains a discussion of the free dramatic 
performances provided by the Stratford town council for the citizens 
of Stratford at the time when Shakespeare was a boy. The ninth 
chapter is a full treatment of Shakespeare's poems, mention of which 
has been omitted in the short sketch in this edition of The Merchant. 



xxvi REFERENCE BOOKS 

In the thirteenth chapter there is a good account of the opposition 
of the Puritans in London to the theaters estabhshed there. 

18. Alexander, Louis Charles. "The Autobiography of 
Shakespeare." Baker & Taylor Co., 1911. 

A curious attempt to put into the first person facts about Shake- 
speare compiled by Mr. Alexander during years of study of the 
dramatist's life. 

I 19. Gray, Joseph William. "Shakespeare's Marriage, His 
Departure from Stratford, and Other Incidents in His Life." Lon- 
don, 1905. 

The ninth chapter is a concise summary of facts about Shake- 
speare's life, as shown by contemporary written documents: e.g., 

1599. The Globe Theatre was built, and Shakespeare became 
the owner of a share in the profits. Public Record Office. 

1601. Thomas Whittington bequeathed to the poor of Stratford 
forty shillings "that is in the hand of Anne Shaxspere wyfe unto Mr. 
Wyllyam Shaxspere." The will was proved at Worcester, April 
29th, 1601. 

20. Halliwell-Phillips, J. O. "The Visits of Shakespeare's 
Company of Actors to the Provincial Cities and Towns of England," 
illustrated by extracts gathered from corporate records. Brighton, 
1887. 

This book is an example of the sort of indefatigable search that 
scholars have made in the last half century to find any possible scrap 
of information about Shakespeare. The author, Halliwell-Phillips, 
has been one of the most painstaking of investigators. In the 
forty-eight pages of this book he mentions all the visits of the Lord 
Chamberlain's company of actors that are referred to in the records 
of the corporate towns within a circuit of about forty miles of Strat- 
ford-on-Avon. As Shakespeare was the leading member of the 
company as early as 1594, it is probable that he accompanied his 
colleagues on their excursions to the country towns. 

21. Smith, Goldwin. "Shakespeare the Man: An Attempt to 
find Traces of the Dramatist's Character in His Dramas." New 
York, 1900. 

A booklet of sixty pages in the author's customarily pungent style: 
e.g., "Fine music seems to have been Shakespeare's acme of enjoy- 
ment," and "Portia's success as an advocate cannot be pleaded as 
encouraging to ladies to enter the legal profession. It will be 
observed that she gets not only her garments but her notes from 
her cousin Doctor Bellario at Padua." 

22. "Tolstoy on Shakespeare," translated by V. Tchertkoff and 
I. F. M. New York and London, 1906. 



THE MERCHANT OF VENICE 



DRAMATIS PERSON.E 

The Duke of Venice 

The Prince of Morocco ) ., , -r. ,. 
rr. Ti A ( suitors to Portia. 

The Prince of Arragon ) 

Antonio, a merchant of Venice. 

Bassanio, friend to Antonio, suitor likewise to Portia. 

Salanio ^ 

Salarino [ friends to Antonio and Bassanio. 

Gratiano ) 

Lorenzo, in love vnth Jessica. 

Shylock, a rich Jew. 

Tubal, a Jew, friend to Shylock. 

Salerio, a messenger. 

Launcelot Gobbo, a Clown, servant to Shylock. 

Old Gobbo, father to Launcelot. 

Leonardo, servant to Bassanio. 

Balthazar ) ^ . t. x- 

o ( servants to Portia. 

Stephano ) 

Portia, a rich Italian lady. 
Nerissa, her waiting-gentlewoman. 
Jessica, daughter to Shylock. 

Magnificoes of Venice, Officers of the Court of Justice, Oaoler, 
Servants, and other Attendants. 

SCENE — Partly at Venice; and partly at Belmont, the seat of 
Portia, on the Continent. 



THE MERCHANT OF VENICE 



ACT I 


Scene I 


Venice. A street. 



Enter Antonio, Salarino, and Salanio. 

Antonio. In sooth, I know not why I am so sad: 
It wearies me; you say it wearies you; 
But how I caught it, found it, or came by it, 
What stuff 'tis made of, whereof it is born, 
I am to learn; 

And such a want-wit sadness makes of me. 
That I have much ado to know myself. 

Salarino. Your mind is tossing on the ocean; 
There, where your argosies with portly sail, — - 
Like signiors and rich burghers on the flood, 10 

Or, as it were, the pageants of the sea, — 
Do overpeer the petty trajQackers, 
That curtsy to them, do them reverence. 
As they fly by them with their woven wings. 

Salanio. Believe me, sir, had I such venture forth, 
The better part of my affections would 
Be with my hopes abroad. I should be still 
Plucking the grass, to know where sits the wind; 
Peering in maps for ports and piers and roads; 
And every object that might make me fear 20 

Misfortune to my ventures, out of doubt 
Would make me sad. 



4 MERCHANT OF VENICE [Act I 

Salarino. My wind, cooling my broth, 

Would blow me to an ague, when I thought 
What harm a wind too great might do at sea. 
I should not see the sandy hour-glass run 
But I should think of shallows and of flats, 
And see my wealthy Andrew dock'd in sand, 
Vailing her high-top lower than her ribs 
To kiss her burial. Should I go to church 
And see the holy edifice of stone, 30 

And not bethink me straight of dangerous rocks, 
Which, touching but my gentle vessel's side, 
Would scatter all her spices on the stream. 
Enrobe the roaring waters with my silks. 
And, in a word, but even now worth this. 
And now worth nothing ? Shall I have the thought 
To think on this; and shall I lack the thought 
That such a thing, bechanced, would make me sad ? 
But tell not me; I know Antonio 
Is sad to think upon his merchandise. 40 

Antonio. Believe me, no ; I thank my fortune for it. 
My ventures are not in one bottom trusted. 
Nor to one place; nor is my whole estate 
Upon the fortune of this present year: 
Therefore my merchandise makes me not sad. 

Salarino. Why, then you are in love. 

Antonio. Fie, fie! 

Salarino . Not in love neither ? Then let us say 
you are sad, 
Because you are not merry : and 'twere as easy 
For you to laugh and leap and say you are merry. 
Because you are not sad. Now, by two-headed 

Janus, 50 



Scene I] MERCHANT OF VENICE 5 

Nature hath framed strange fellows in her time: 

Some that will evermore peep through their eyes, 

And laugh like parrots at a bag-piper; 

And other of such vinegar aspect 

That they'll not show their teeth in way of smile. 

Though Nestor swear the jest be laughable. 

Enter Bassanio, Lorenzo, and Gratiano. 
Salanio. Here comes Bassanio, your most noble 
kinsman, 
Gratiano, and Lorenzo. Fare ye well: 
We leave you now with better company. 

Salarino. I would have stay'd till I had made 
you merry, 60 

If worthier friends had not prevented me. 

Antonio. Your worth is very dear in my regard. 
I take it, your own business calls on you. 
And you embrace th' occasion to depart. 
Salarino. Good morrow, my good lords. 
Bassanio. Good signiors both, when shall we 
laugh ? Say, when ? 
You grow exceeding strange: must it be so ? 

Salarino. We'll make our leisures to attend on 
yours. 

[Exeunt Salarino and Salanio. 
Lorenzo. My lord Bassanio, since you have found 
Antonio, 
We two will leave you; but at dinner-time, 70 

I pray you, have in mind where we must meet. 
Bassanio. I will not fail you. 
Gratiano. You look not well, Signior Antonio; 
You have too much respect upon the world: 
They lose it that do buy it with much care. 



6 MERCHANT OF VENICE [Act I 

Believe me, you are marvelously changed. 

Antonio. I hold the world but as the world, 
Gratiano; 
A stage where every man must play a part, 
And mine a sad one. 

Gratiano. Let me play the Fool: 

With mirth and laughter let old wrinkles come, 80 

And let my liver rather heat with wine 
Than my heart cool with mortifying groans. 
Why should a man whose blood is w arm within 
Sit like his grandsire cut in alabaster ? 
Sleep when he wakes, and creep into the jaundice 
By being peevish ? I tell thee what, Antonio, — 
I love thee, and it is my love that speaks, — 
There are a sort of men whose visages 
Do cream and mantle like a standing pond; 
And do a wilful stillness entertain, 90 

With purpose to be dress'd in an opinion 
Of wisdom, gravity, profound conceit; 
As who should say, ' I am Sir Oracle, 
And when I ope my lips, let no dog bark!* 
O my Antonio, I do know of these 
That therefore only are reputed wise 
For saying nothing; who I am very sure. 
If they should speak, would almost damn those 

ears 
Which, hearing them, would call their brothers fools. 
I'll tell thee more of this another time: 100 

But fish not, with this melancholy bait. 
For this fool- gudgeon, this opinion. 
Come, good Lorenzo. Fare ye well a while: 
I'll end my exhortation after dinner. 



Scene I] MERCHANT OF VENICE 7 

Lorenzo. Well, we will leave you, then, till dinner- 
time: 
I must be one of these same dumb wise men. 
For Gratiano never lets me speak. 

Gratiano. Well, keep me company but two years 
moe, 
Thou shalt not know the sound of thine own tongue. 

Antonio. Farewell : I'll grow a talker for this gear. 110 

Gratiano. Thanks, i' faith; for silence is only 
commendable 
In a neat's tongue dried, and a maid not vendible. 

{Exeunt Gratiano and Lorenzo. 

Antonio. Is that any thing now? 

Bassanio. Gratiano speaks an infinite deal of 
nothing, more than any man in all Venice. His rea- 
sons are as two grains of wheat hid in two bushels of 
chaff: you shall seek all day ere you find them; and 
when you have them, they are not worth the search. 

Antonio. Well, tell me now, what lady is the same 
To whom you swore a secret pilgrimage, 120 

That you to-day promised to tell me of.^^ 

Bassanio. 'Tis not unknown to you, Antonio, 
How much I have disabled mine estate. 
By something showing a more swelling port 
Than my faint means would grant continuance: 
Nor do I now make moan to be abridged 
From such a noble rate; but my chief care 
Is to come fairly off from the great debts 
Wherein my time, something too prodigal, 
Hath left me gaged. To you, Antonio, 130 

I owe the most, in money and in love; 
And from your love I have a warranty 



8 MERCHANT OF VENICE [Act I 

To unburthen all my plots and purposes, 
How to get clear of all the debts I owe. 

Antonio. I pray you, good Bassanio, let me 
know it; 
And if it stand, as you yourself still do. 
Within the eye of honor, be assured 
My purse, my person, my extremest means 
Lie all unlock'd to your occasions. 

Bassanio. In my school-days, when I had lost 
one shaft, 140 

I shot his fellow of the selfsame flight 
The selfsame way, with more advised watch. 
To find the other forth; and by adventuring both 
I oft found both : I urge this childhood proof. 
Because what follows is pure innocence. 
I owe you much; and, like a wilful youth, 
That which I owe is lost : but if you please 
To shoot another arrow that self way 
Which you did shoot the first, I do not doubt. 
As I will watch the aim, or to find both 150 

Or bring your latter hazard back again. 
And thankfully rest debtor for the first. 

Antonio. You know me well, and herein spend 
. but time 
To wind about my love with circumstance; 
And, out of doubt, you do me now more wrong 
In making question of my uttermost 
Than if you had made waste of all I have. 
Then do but say to me what I should do, 
That in your knowledge may by me be done, 
And I am prest unto it : therefore speak. 160 

Bassanio. In Belmont is a lady richly left; 



Scene II] MERCHANT OF VENICE 9 

And she is fair, and, fairer than that word. 

Of wondrous virtues: sometimes from her eyes 

I did receive fair speechless messages. 

Her name is Portia, nothing undervalued 

To Cato's daughter, Brutus' Portia. 

Nor is the wide world ignorant of her worth; 

For the four winds blow in from every coast 

Renowned suitors; and her sunny locks 

Hang on her temples like a golden fleece; 170 

Which makes her seat of Belmont Colchos' strand, 

And many Jasons come in quest of her. 

my Antonio ! had I but the means 
To hold a rival place with one of them, 

1 have a mind presages me such thrift. 
That I should questionless be fortunate. 

Antonio. Thou know'st that all my fortunes 
are at sea; 
Neither have I money nor commodity 
To raise a present sum: therefore go forth; 
Try what my credit can in Venice do : 180 

That shall be rack'd, even to the uttermost. 
To furnish thee to Belmont, to fair Portia. 
Go, presently inquire, and so will I, 
Where money is; and I no question make 
To have it of my trust or for my sake. [Exeunt. 

Scene II 
Belmont. A room in Portia*s house. 
Enter Portia and Nerissa. 
Portia. By my troth, Nerissa, my little body is 
aweary of this great world. 



10 MERCHANT OF VENICE [Act I 

Nerissa. You would be, sweet madam, if your 
miseries were in the same abundance as your good 
fortunes are: and yet, for aught I see, they are as 
sick that surfeit with too much, as they that starve 
with nothing. It is no small happiness, therefore, to 
be seated in the mean; superfluity comes sooner by 
white hairs, but competency lives longer. 

Portia. Good sentences, and well pronounced. 10 

Nerissa. They would be better, if well followed. 

Portia. If to do were as easy as to know what 
were good to do, chapels had been churches, and 
poor men's cottages princes' palaces. It is a good 
divine that follows his own instructions : I can easier 
teach twenty what were good to be done than be one 
of the twenty to follow mine own teaching. The 
brain may devise laws for the blood; but a hot tem- 
per leaps o'er a cold decree : such a hare is madness 
the youth, to skip o'er the meshes of good counsel 20 
the cripple. But this reasoning is not in the fashion 
to choose me a husband. O me, the word 'choose' ! 
I may neither choose whom I would, nor refuse 
whom I dislike; so is the will of a living daughter 
curbed by the will of a dead father. Is it not hard, 
Nerissa, that I cannot choose one nor refuse none ? 

Nerissa. Your father was ever virtuous; and holy 
men at their death have good inspirations; therefore 
the lottery that he hath devised in these three chests 
of gold, silver, and lead (whereof who chooses his 30 
meaning chooses you) will, no doubt, never be chosen 
by any rightly, but one who shall rightly love. But 
what warmth is there in your affection towards any 
of these princely suitors that are already come ? 



Scene II] MERCHANT OP VENICE 11 

Portia. I pray thee, over-name them; and as 
thou namest them, I will describe them; and, ac- 
cording to my description, level at my affection. 

Nerissa. First, there is the Neapolitan prince. 

Portia. Ay, that's a colt, indeed, for he doth 
nothing but talk of his horse; and he makes it a 40 
great appropriation to his own good parts, that he 
can shoe him himself. 

Nerissa. Then is there the County Palatine. 

Portia. He doth nothing but frown; as who 
should say, *An you will not have me, choose'; he 
hears merry tales, and smiles not: I fear he will 
prove the weeping philosopher when he grows old, 
being so full of unmannerly sadness in his youth. I 
had rather be married to a death's-head with a bone 
in his mouth than to either of these. God defend 50 
me from these two! 

Nerissa. How say you by the French lord, Mon- 
sieur Le Bon? 

Portia. God made him, and therefore let him 
pass for a man. In truth, I know it is a sin to be a 
mocker. But he! why, he hath a horse better than 
the Neapolitan's; a better bad habit of frowning 
than the Count Palatine: he is every man in no 
man: if a throstle sing, he falls straight a-capering; 
he will fence with his own shadow : if I should marry 60 
him, I should marry twenty husbands. If he would 
despise me, I would forgive him; for, if he love 
me to madness, I shall never requite him. 

Nerissa. What say you, then, to Falconbridge, 
the young baron of England ? 

Portia. You know I say nothing to him; for he 



12 MERCHANT OF VENICE [Act I 

understands not me, nor I him: he hath neither 
Latin, French, nor ItaUan; and you will come into 
the court and swear that I have a poor pennyworth 
in the English. He is a proper man's picture; but 70 
alas, who can converse with a dumb-show? How 
oddly he is suited! I think he bought his doublet 
in Italy, his round hose in France, his bonnet in 
Germany, and his behavior everywhere. 

Nerissa. What think you of the Scottish lord, 
his neighbor? 

Portia. That he hath a neighborly charity in 
him; for he borrowed a box of the ear of the English- 
man, and swore he would pay him again when he 
was able : I think the Frenchman became his surety, 80 
and sealed under for another. 

Nerissa. How like you the young German, the 
Duke of Saxony's nephew? 

Portia. Very vilely in the morning, when he is 
sober; and most vilely in the afternoon, when he 
is drunk: when he is best, he is a little worse than 
a man; and when he is worst, he is little better than 
a beast : an the worst fall that ever fell, I hope I shall 
make shift to go without him. 

Nerissa. If he should offer to choose, and choose 90 
the right casket, you should refuse to perform your 
father's will, if you should refuse to accept him. 

Portia. Therefore, for fear of the worst, I pray 
thee set a deep glass of Rhenish wine on the con- 
trary casket: for, if the devil be within and that 
temptation without, I know he will choose it. I 
will do anything, Nerissa, ere I will be married to 
a sponge. 



Scene II] MERCHANT OF VENICE 13 

Nerissa. You need not fear, lady, the having any 
of these lords : they have acquainted me with their loo 
determinations; which is, indeed, to return to 
their home and to trouble you with no more suit, 
unless you may be won by some other sort than your 
father's imposition, depending on the caskets. 

Portia. If I live to be as old as Sibylla, I will die 
as chaste as Diana, unless I be obtained by the 
manner of my father's will. I am glad this parcel of 
wooers are so reasonable; for there is not one among 
them but I dote on his very absence; and I wish 
them a fair departure. 110 

Nerissa. Do you not remember, lady, in your 
father's time, a Venetian, a scholar, and a soldier, 
that came hither in company of the Marquis of 
Montf errat ? 

Portia. Yes, yes, it was Bassanio; as I think, so 
was he called. 

Nerissa. True, madam: he, of all the men that 
ever my foolish eyes looked upon, was the best 
deserving a fair lady. 

Portia. I remember him well; and I remember 120 
him worthy of thy praise. How now ! what news ? 

Enter a Serving-man. 

Servant. - The four strangers seek you, madam, to 
take their leave: and there is a forerunner come 
from a fifth, the Prince of Morocco; who brings 
word the prince his master will be here to-night. 

Portia. If I could bid the fifth welcome with so 
good heart as I can bid the other four farewell, I 
should be glad of his approach : if he have the con- 



14 MERCHANT OF VENICE [Act I 

dition of a saint and the complexion of a devil, I had 
rather he should shrive me than wive me. 130 

Come, Nerissa. Sirrah, go before. 
Whiles we shut the gate upon one wooer, another 
knocks at the door. [Exeunt. 

Scene III 

Venice. A public place. 

Enter Bassanio and Shylock. 

Shylock Three thousand ducats, — well. 

Bassanio. Ay, sir, for three months. 

Shylock. For three months, — well. 

Bassanio. For the which, as I told you, Antonio 
shall be bound. 

Shylock. Antonio shall become bound, — well. 

Bassanio. May you stead me ? Will you pleas- 
ure me? Shall I know your answer .^^ 

Shylock. Three thousand ducats, for three 
months, and Antonio bound. 10 

Bassanio. Your answer to that. 

Shylock. Antonio is a good man. 

Bassanio. Have you heard any imputation to the 
contrary ? 

Shylock. Ho ! no, no, no, no : my meaning, in say- 
ing he is a good man, is to have you understand me 
that he is sufficient. Yet his means are in supposi- 
tion: he hath an argosy bound to Tripolis, another 
to the Indies; I understand, moreover, upon the 
Rialto, he hath a third at Mexico, a fourth for 20 
England; and other ventures he hath, squandered 
abroad. But ships are but boards, sailors but men ; 



Scene III] MERCHANT OF VENICE 

there be land-rats and water-rats, water-thieves 
and land- thieves; — I mean, pirates; and then there 
is the peril of waters, winds, and rocks. The man is, 
notwithstanding, sufficient. Three thousand duc- 
ats; — I think I may take his bond. 

Bassanio. Be assured you may. 

Shylock. I will be assured I may; and, that I 
may be assured, I will bethink me. May I speak 
with Antonio ? 

Bassanio. If it please you to dine with us. 

Shylock. Yes, to smell pork; to eat of the habi- 
tation which your prophet, the Nazarite, conjured the 
devil into! I will buy with you, sell with you, talk 
with you, walk with you, and so following; but I will 
not eat with you, drink with you, nor pray with you. 
— What news on the Rialto ? — Who is he comes 
here ? 

Enter Antonio. 

Bassanio. This is signior Antonio. 

Shylock. [Aside] How like a fawning publican 
he looks ! 
I hate him for he is a Christian; 
But more for that, in low simplicity 
He lends out money gratis, and brings down 
The rate of usance here with us in Venice. 
If I can catch him once upon the hip, 
I will feed fat the ancient grudge I bear him. 
He hates our sacred nation; and he rails. 
Even there where merchants most do congregate. 
On me, my bargains, and my well-won thrift, 
Which he calls interest. Cursed be my tribe 
If I forgive hirnl 



16 MERCHANT OF VENICE [Act I 

Bassanio. Shylock, do you hear ? 

Shylock. I am debating of my present store; 
And, by the near guess of my memory, 
I cannot instantly raise up the gross 
Of full three thousand ducats. What of that ? 
Tubal, a wealthy Hebrew of my tribe, 
Will furnish me. But soft! how many months 
Do you desire.^ — [To Antonio] Rest you fair, 

good signior: 
Your worship was the last man in our mouths. 
Antonio. Shylock, albeit I neither lend nor 
borrow 60 

By taking nor by giving of excess. 
Yet, to supply the ripe wants of my friend, 
I'll break a custom. — [To Bassanio] Is he yet 

possess'd 
How much you would ? 

Shylock. Ay, ay, three thousand ducats. 

Antonio. And for three months. 
Shylock. I had forgot, — three months; you 
told me so. 
Well then, your bond; and, let me see; but hear 

you: 
Methought you said you neither lend nor borrow 
Upon advantage. 

Antonio. I do never use it. 

Shylock. When Jacob grazed his uncle Laban's 
sheep, — 
This Jacob from our holy Abram was 
(As his wise mother wrought in his behalf) 
The third possessor; ay, he was the third — 

Antonio, And what of him ? did he take interest ? 



70 



Scene III] MERCHANT OF VENICE 17 

Shylock No, not take interest; not, as you would 
say. 
Directly interest: mark what Jacob did. 
When Laban and himself were compromised, 
That all the eanlings which were streaked and pied 
Should fall as Jacob's hire. 

The skilful shepherd peeled me certain wands, 80 

And stuck them up before the fulsome ewes. 
Who, then conceiving, did in eaning time 
Fall parti-colored lambs, and those were Jacob's. 
This was a way to thrive, and he was blest; 
And thrift is blessing, if men steal it not. 

Antonio. This was a venture, sir, that Jacob 
served for; 
A thing not in his power to bring to pass, 
But sway'd and fashion'd by the hand of heaven. 
Was this inserted to make interest good ? 
Or is your gold and silver ewes and rams ? 90 

Shylock. I cannot tell; I make it breed as fast. 
But note me, signior. 

Antonio. Mark you this Bassanio, 

The devil can cite Scripture for his purpose. 
An evil soul, producing holy witness. 
Is like a villain with a smiling cheek; 
A goodly apple rotten at the heart: 
O, what a goodly outside falsehood hath ! 

Shylock. Three thousand ducats, — 'tis a good 
round sum. 
Three months from twelve, — then, let me see; 
the rate — 

Antonio. Well, Shylock, shall we be beholding to 

you.? 100 



18 MERCHANT OF VENICE [Act I 

Shylock. Signior Antonio, many a time and oft 
In the Rialto you have rated me 
About my moneys and my usances: 
Still have I borne it with a patient shrug; 
For sufferance is the badge of all our tribe. 
You call me misbeliever, cut-throat-dog, 
And spit upon my Jewish gaberdine, 
And all for use of that which is mine own. 
Well then, it now appears you need my help : 
Go to, then; you come to me, and you say, 110 

*Shylock, we would have money': you say so; 
You, that did void your rheum upon my beard, 
And foot me as you spurn a stranger cur 
Over your threshold: moneys is your suit. 
What should I say to you ? Should I not say, 
*Hath a dog money ? Is it possible 
A cur can lend three thousand ducats ? ' Or 
Shall I bend low, and in a bondman's key. 
With bated breath and whispering humbleness. 
Say this, — 120 

'Fair sir, you spit on me on Wednesday last; 
You spurn'd me such a day; another time 
You call'd me dog; and for these courtesies 
I'll lend you thus much moneys ?' 

Antonio. I am as like to call thee so again, 
To spit on thee again, to spurn thee too. 
If thou wilt lend this money, lend it not 
As to thy friends; for when did friendship take 
A breed of barren metal of his friend ? 
But lend it rather to thine enemy; 130 

Who, if he break, thou mayst with better face 
Exact the penalty. 



Scene III] MERCHANT OF VENICE 19 

Shylock. Why, look you, how you storm! 

I would be friends with you, and have your love; 
Forget the shames that you have stain'd me with; 
Supply your present wants, and take no doit 
Of usance for my moneys, and you'll not hear me: 
This is kind I offer. 

Bassanio. This were kindness. 

Shylock. This kindness will I show: 

Go with me to a notary; seal me there 
Your single bond, and, in a merry sport, 140 

If you repay me not on such a day. 
In such a place, such sum or sums as are 
Express'd in the condition, let the forfeit 
Be nominated for an equal pound 
Of your fair flesh, to be cut off and taken 
In what part of your body please th me. 

Antonio. Content, in faith; I'll seal to such a 
bond. 
And say there is much kindness in the Jew. 

Bassanio. You shall not seal to such a bond for 
me; 
I'll rather dwell in my necessity. 150 

Antonio. Why, fear not, man; I will not forfeit 
it; 
Within these two months, that's a month before 
This bond expires, I do expect return 
Of thrice three times the value of this bond. 

Shylock. O Father Abram, what these Christians 
are. 
Whose own hard dealings teaches them suspect 
The thoughts of others ! — Pray you, tell me this : 
If he should break his day, what should I gain 



20 MERCHANT OF VENICE [Act I 

By the exaction of the forfeiture ? 

A pound of man's flesh, taken from a man, 160 

Is not so estimable, profitable neither, 

As flesh of muttons, beefs, or goats. I say, 

To buy his favor, I extend this friendship; 

If he will take it, so; if not, adieu; 

And, for my love, I pray you wrong me not. 

Antonio. Yes, Shylock, I will seal unto this bond. 

Shylock. Then meet me forthwith at the notary's; 
Give him direction for this merry bond. 
And I will go and purse the ducats straight; 
See to my house, left in the fearful guard 170 

Of an unthrifty knave; and presently 
I will be with you. [Exit. 

Antonio. Hie thee, gentle Jew. 

The Hebrew will turn Christian; he grows kind. 

Bassanio. I like not fair terms and a villain's 
mind. 

Antonio. Come on; in this there can be no dis- 
may; 
My ships come home a month before the day. 

[Exeunt. 



ACT II 

Scene I 
Belmont, A room in Portia's house. 

Flourish of cornets. Enter the Prince of Morocco 
and his Train; Portia, Nerissa, and others attending. 

Morocco. Mislike me not for my complexion, 
The shadow'd livery of the burnish'd sun, 
To whom I am a neighbor and near bred. 
Bring me the fairest creature northward born. 
Where Phoebus' fire scarce thaws the icicles. 
And let us make incision for your love. 
To prove whose blood is reddest, his or mine. 
I tell thee, lady, this aspect of mine 
Hath fear'd the valiant; by my love, I swear 
The best-regarded virgins of our clime 10 

Have loved it too : I would not change this hue. 
Except to steal your thoughts, my gentle queen. 

Portia. In terms of choice I am not solely led 
By nice direction of a maiden's eyes; 
Besides, the lottery of my destiny 
Bars me the right of voluntary choosing: 
But, if my father had not scanted me, 
And hedged me by his wit to yield myself 
His wife who wins me by that means I told you, 
Yourself, renowned prince, then stood as fair 20 

As any comer I have look'd on yet, 
For my affection. 

Morocco. Even for that I thank you; 



22 MERCHANT OF VENICE [Act II 

Therefore, I pray you, lead me to the caskets 

To try my fortune. By this scimitar 

That slew the Sophy and a Persian prince 

That won three fields of Sultan Solyman, 

I would outstare the sternest eyes that look. 

Outbrave the heart most daring on the earth, 

Pluck the young sucking cubs from the she-bear, 

Yea, mock the lion when he roars for prey, 30 

To win the lady. But, alas the while! 

If Hercules and Lichas play at dice 

Which is the better man, the greater throw 

May turn by fortune from the weaker hand: 

So is Alcides beaten by his page; 

And so may I, blind fortune leading me. 

Miss that which one unworthier may attain. 

And die with grieving. 

Portia. You must take your chance; 

And either not attempt to choose at all, 
Or, swear before you choose, if you choose wrong 40 
Never to speak to lady afterward 
In way of marriage; therefore be advised. 

Morocco. Nor will not; come, bring me unto my 
chance. 

Portia. First, forward to the temple; after dinner 
Your hazard shall be made. 

Morocco. Good fortune then! 

To make me blest or cursed'st among men. 

[Cornets. Exeunt. 



Scene II] MERCHANT OF VENICE 23 

Scene II 
Venice. A street. 
Enter Launcelot. 
Launcelot. Certainly my conscience will serve me 
to run from this Jew my master. The fiend is at 
mine elbow, and tempts me, saying to me, ' Gobbo, 
Launcelot Gobbo, good Launcelot,' or ' good Gobbo,' 
or ' good Launcelot Gobbo, use your legs, take the 
start, run away.' My conscience says, 'No; take 
heed, honest Launcelot; take heed, honest Gobbo,' 
or, as aforesaid, 'honest Launcelot Gobbo; do not 
run; scorn running with thy heels.' Well, the most 
courageous fiend bids me pack : ' Via ! ' says the fiend; 10 
' away ! ' says the fiend; ' for the heavens, rouse up a 
brave mind,' says the fiend, 'and run.' Well, my 
conscience, hanging about the neck of my heart, says 
very wisely to me, ' My honest friend Launcelot, be- 
ing an honest man's son,' — or rather an honest 
woman's son; for, indeed, my father did something 
smack, something grow to, he had a kind of taste; — 
well, my conscience says, 'Launcelot, budge not.' 
' Budge,' says the fiend. ' Budge not,' says my con- 
science. 'Conscience,' say I, 'you counsel well'; 20 
' fiend,' say I, ' you counsel well ' : to be ruled by my 
conscience I should stay with the Jew my master, 
who, God bless the mark, is a kind of devil; and to 
run away from the Jew I should be ruled by the fiend, 
who, saving your reverence, is the devil himself. 
Certainly the Jew is the very devil incarnal; and, in 
my conscience, my conscience is but a kind of hard 



24 MERCHANT OF VENICE [Act II 

conscience, to offer to counsel me to stay with the 
Jew. The fiend gives the more friendly counsel: I 
will run, fiend, my heels are at your commandment; 
I will run. 30 

Enter Old Gobbo with a basket. 

Gobbo. Master young man, you, I pray you, 
which is the way to Master Jew's .^^ 

Launcelot. [Aside] O heavens, this is my true- 
begotten father! who, being more than sand-blind, 
high-gravel-blind, knows me not: I will try con- 
fusions with him. 

Gobbo. Master young gentleman, I pray you, 
which is the way to Master Jew's ? 

Launcelot. Turn up on your right hand at the 40 
next turning, but, at the next turning of all, on your 
left; marry, at the very next turning, turn of no 
hand, but turn down indirectly to the Jew's house. 

Gobbo. By God's sonties, 'twill be a hard way to 
hit. Can you tell me whether one Launcelot, that 
dwells with him, dwell with him or no ? 

Launcelot. Talk you of young Master Launce- 
lot .P— 

[Aside] Mark me now; now will I raise the waters. 
— Talk you of young Master Launcelot ? 

Gobbo. No master, sir, but a poor man's son : his 50 
father, though I say it, is an honest exceeding poor 
man, and, God be thanked, well to live. 

Launcelot. Well, let his father be what a' will, we 
talk of young Master Launcelot. 

Gobbo. Your worship's friend and Launcelot, sir. 

Launcelot. But I pray you, ergo, old man, ergo, I 
beseech you, talk you of young Master Launcelot ? 



Scene II] MERCHANT OF VENICE 

Gohho. Of Launcelot, an't please your mastership. 

Launcelot. Ergo, Master Launcelot; talk not of 
Master Launcelot, father; for the young gentleman 
(according to Fates and Destinies, and such odd say- 
ings, the Sisters Three, and such branches of learning) 
is indeed, deceased; or, as you would say in plain 
terms, gone to heaven. 

Gohho. Marry, God forbid ! the boy was the very 
staff of my age, my very prop. 

Launcelot. [Aside] Do I look like a cudgel or a 
hovel-post, a staff or a prop ? — Do you know me, 
father ? 

Gohho. Alack the day, I know you not, young 
gentleman : but, I pray you, tell me, is my boy — 
God rest his soul ! — alive or dead ? 

Launcelot. Do you know me, father ? 

Gohho. Alack, sir, I am sand-blind, I know you 
not. 

Launcelot. Nay, indeed, if you had your eyes, 
you might fail of the knowing me : it is a wise father 
that knows his own child. Well, old man, I will tell 
you news of your son : give me your blessing : truth 
will come to light; murder cannot be hid long; a 
man's son may; but, in the end, truth will out. 

Gohho. Pray you, sir, stand up; I am sure you are 
not Launcelot, my boy. 

Launcelot. Pray you, let's have no more fooling 
about it, but give me your blessing; I am Launcelot, 
your boy that was, your son that is, your child that 
shall be. 

Gohho. I cannot think you are my son. 

Launcelot. I know not what I shall think of that: 



26 MERCHANT OF VENICE [Act II 

but I am Launcelot, the Jew's man; and I am sure 
Margery your wife is my mother. 

Gobbo. Her name is Margery, indeed: I'll be 90 
sworn, if thou be Launcelot, thou art mine own flesh 
and blood. Lord worshipped might he be! what a 
beard hast thou got ! thou hast got more hair on thy 
chin than Dobbin my fill-horse has on his tail. 

Launcelot. It should seem, then, that Dobbin's 
tail grows backward; I am sure he had more hair of 
his tail than I have of my face, when I last saw him. 

Gobbo. Lord, how art thou changed! How dost 
thou and thy master agree ? I have brought him a 
present. How 'gree you now .^^ 100 

Launcelot. Well, well; but for mine own part, as 
I have set up my rest to run away, so I will not rest 
till I have run some ground. My master's a very 
Jew: give him a present! give him a halter: I am 
famished in his service; you may tell every finger 
I have with my ribs. Father, I am glad you are 
come : give me your present to one Master Bassanio, 
who, indeed, gives rare new liveries; if I serve not 
him, I will run as far as God has any ground. — O 
rare fortune! here comes the man; — to him, father; no 
for I am a Jew if I serve the Jew any longer. 

Enter Bassanio with Leonardo and other 
Followers. 
Bassanio. You may do so; but let it be so hasted 
that supper be ready at the farthest by five of the 
clock. See these letters delivered; put the liveries 
to making; and desire Gratiano to come anon to my 
lodging. \Exit a Servant, 



Scene II] MERCHANT OF VENICE 27 

Launcelot. To him, father, 

Gobbo. God bless your worship! 

Bassanio. Gramercy ! Wouldst thou aught with 
me ? 120 

Gobbo. Here's my son, sir, a poor boy, — 

Launcelot. Not a poor boy, sir, but the rich Jew's 
man; that would, sir, as my father shall specify, — 

Gobbo. He hath a great infection, sir, as one 
would say, to serve, — 

Launcelot. Indeed, the short and the long is, I 
serve the Jew, and have a desire, as my father shall 
specify, — 

Gobbo. His master and he (saving your worship's 
reverence) are scarce cater-cousins; — 130 

Launcelot. To be brief, the very truth is, that the 
Jew, having done me wrong, doth cause me, as my 
father, being I hope an old man, shall frutify unto 
you, — 

Gobbo. I have here a dish of doves that I would 
bestow upon your worship; and my suit is, — 

Launcelot. In very brief, the suit is impertinent 
to myself, as your worship shall know by this honest 
old man; and, though I say it, though old man, yet, 
poor man, my father. 140 

Bassanio. One speak for both — What would 
you? 

Launcelot. Serve you, sir. 

Gobbo. That is the very defect of the matter, sir. 

Bassanio. I know thee well; thou hast obtain'd 
thy suit: 
Shylock thy master spoke with me this day, 
And hath preferr'd thee; if it be preferment 



28 MERCHANT OF VENICE [Act II 

To leave a rich Jew's service, to become 
The follower of so poor a gentleman. 

Launcelot. The old proverb is very well parted 
between my master Shylock and you, sir: you have 150 
the grace of God, sir, and he hath enough. 

Bassanio. Thou speak'st it well. — Go, father, 
with thy son. — 
Take leave of thy old master, and inquire 
My lodging out. — [to his Followers] Give him a 

livery 
More guarded than his fellows' : see it done. 

Launcelot. Father, in. — I cannot get a service, 
no ! I have ne'er a tongue in my head ! — Well [look- 
ing on his palm], if any man in Italy have a fairer 
table which doth offer to swear upon a book, I shall 
have good fortune! Go to; here's a simple line of 160 
life ! here's a small trifle of wives : alas, fifteen wives 
is nothing ! eleven widows and nine maids is a simple 
coming-in for one man; and then to 'scape drowning 
thrice, — and to be in peril of my life with the edge 
of a feather-bed, — here are simple scapes! Well, if 
fortune be a woman, she's a good wench for this 
gear. — Father, come; I'll take my leave of the Jew 
in the twinkling of an eye. 

[Exeunt Launcelot and Old Gobbo. 

Bassanio. I pray thee, good Leonardo, think on 
this: 
These things being bought and orderly bestow'd, 170 
Return in haste, for I do feast to-night 
My best-esteem'd acquaintance: hie thee, go, 

Leonardo. My best endeavors shall be done 
herein. 



Scene II] MERCHANT OF VENICE 29 

Enter Gratiano. 

Gratiano. Where is your master? 

Leonardo. Yonder, sir, he walks. 

[Exit. 

Gratiano. Signior Bassanio, — 

Bassanio. Gratiano ! 

Gratiano. I have a suit to you. 

Bassanio. You have obtained it. 

Gratiano. You must not deny me: I must go 
with you to Belmont. 

Bassanio. Why, then you must. But hear thee, 
Gratiano : 180 

Thou art too wild, too rude, and bold of voice, — 
Parts that become thee happily enough. 
And in such eyes as ours appear not faults; 
But where thou art not known, why, there they 

show 
Something too liberal. Pray thee, take pain 
To allay with some cold drops of modesty 
Thy skipping spirit; lest, through thy wild be- 
havior, 
I be misconstrued in the place I go to. 
And lose my hopes. 

Gratiano. Signior Bassanio, hear me: 

If I do not put on a sober habit, 190 

Talk with respect, and swear but now and then. 
Wear prayer-books in my pocket, look demurely 
Nay more, while grace is saying, hood mine eyes 
Thus with my hat, and sigh and say ' amen ' 
Use all the observance of civility. 
Like one well studied in a sad ostent 
To please his grandam, — never trust me more, 



30 MERCHANT OF VENICE [Act II 

Bassanio. Well, we shall see your bearing. 

Gratiano. Nay, but I bar to-night; you shall not 
gage me 
By what we do to-night. 

Bassanio. No, that were pity; 200 

I would entreat you rather to put on 
Your boldest suit of mirth, for we have friends 
That purpose merriment. But fare you well; 
I have some business. 

Gratiano. And I must to Lorenzo and the rest; 
But we will visit you at supper-time. [Exeunt. 



Scene III 

Venice. A room in Shylock's house. 
Enter Jessica and Launcelot. 

Jessica. I am sorry thou wilt leave my father so; 
Our house is hell, and thou, a merry devil, 
Didst rob it of some taste of tediousness. 
But fare thee well; there is a ducat for thee. 
And, Launcelot, soon at supper shalt thou see 
Lorenzo, who is thy new master's guest: 
Give him this letter; do it secretly; 
And so farewell; I would not have my father 
See me in talk with thee. 

Launcelot. Adieu ! — tears exhibit my tongue. lO 
Most beautiful pagan, most sweet Jew! if a Chris- 
tian do not play the knave and get thee, I am much 
deceived. But adieu: these foolish drops do some- 
what drown my manly spirit: adieu! 

[Exit Launcelot, 



Scene IV] MERCHANT OF VENICE 31 

Jessica. Farewell, good Launcelot. 
Alack, what heinous sin is it in me 
To be ashamed to be my father's child! 
But though I am a daughter to his blood, 
I am not to his manners: O Lorenzo, 
If thou keep promise, I shall end this strife; 20 

Become a Christian and thy loving wife. [Exit. 

Scene IV 

Venice. A street. 

Enter Gratiano, Lorenzo, Salarino, and Salanio. 

Lorenzo. Nay, we will slink away in supper-time. 

Disguise us at my lodging, and return 

All in an hour. 

Gratiano. We have not made good preparation. 
Salarino. We have not spoke us yet of torch- 
bearers. 
Salanio. 'Tis vile unless it may be quaintly 
order'd; 
And better, in my mind, not undertook. 

Lorenzo. 'Tis now but four o'clock; we have 
two hours 
To furnish us. 

Enter Launcelot with a letter. 

Friend Launcelot, what's the news.?* 
Launcelot. An it shall please you to break up this, 10 
it shall seem to signify. 

Lorenzo. I know the hand: in faith, 'tis a fair 
hand; 
And whiter than the paper it writ on 
Is the fair hand that writ. 



32 MERCHANT OF VENICE [Act II 

Gratiano. Love-news, in faith. 

Launcelot. By your leave, sir. 

Lorenzo, Whither goest thou.'' 

Launcelot. Marry, sir, to bid my old master the 
Jew to sup to-night with my new master the Chris- 
tian. 

Lorenzo. Hold here, take this : — tell gentle Jes- 
sica I will not fail her; speak it privately; 20 
Go. — Gentlemen, [Exit Launcelot. 

Will you prepare you for this masque to-night? 
I am provided of a torch-bearer. 

Salarino. Ay, marry, I'll be gone about it 
straight. 

Salanio. And so will I. 

Lorenzo. Meet me and Gratiano 

At Gratiano's lodging some hour hence. 

Salarino. 'Tis good we do so. 

[Exeunt Salarino and Salanio. 

Gratiano. Was not that letter from fair Jessica .? 

Lorenzo. I must needs tell thee all. She hath 
directed 
How I shall take her from her father's house; 30 

What gold and jewels she is furnish'd with; 
What page's suit she hath in readiness. 
If e'er the Jew her father come to heaven, 
It will be for his gentle daughter's sake; 
And never dare misfortune cross her foot, 
Unless she do it under this excuse, — 
That she is issue to a faithless Jew. 
Come, go with me; peruse this as thou goest: 
Fair Jessica shall be my torch-bearer. 

[Exeunt* 



Scene V] MERCHANT OF VENICE 33 

Scene V 
Venice. Before ShylocUs house. 

Enter Shylock and Launcelot. 

Shylock. Well, thou shalt see, thy eyes shall be 
thy judge, 
The difference of old Shylock and Bassanio : — 
What, Jessica ! — thou shalt not gormandize. 
As thou hast done with me; — What, Jessica! — • 
And sleep and snore and rend apparel out; — 
Why, Jessica, I say 

Launcelot. Why, Jessica! 

Shylock. Who bids thee call ? I do not bid thee 
call. 

Launcelot. Your worship was wont to tell me I 
could do nothing without bidding. 

Enter Jessica. 

Jessica. Call you ? What is your will ? 10 

Shylock. I am bid forth to supper, Jessica; 
There are my keys. But wherefore should I go? 
I am not bid for love; they flatter me : 
But yet I'll go in hate, to feed upon 
The prodigal Christian. — Jessica, my girl, 
Look to my house. — I am right loth to go; 
There is some ill a-brewing towards my rest. 
For I did dream of money-bags to-night. 

Launcelot. I beseech you, sir, go; my young mas- 
ter doth expect your reproach. 20 

Shylock. So do I his. 

Launcelot. And they have conspired together, — 



34 MERCHANT OF VENICE [Act II 

I will not say you shall see a masque; but if you do, 
then it was not for nothing that my nose fell a-bleed- 
ing on Black-Monday last, at six o'clock i' the morn- 
ing, falling out that year on Ash- Wednesday was 
four year in the afternoon. 

Shylock. What! are there masques ? Hear you 
me, Jessica: 
Lock up my doors; and, when you hear the drum 
And the vile squealing of the wry-neck'd fife, 30 

Clamber not you up to the casements then. 
Nor thrust your head into the public street 
To gaze on Christian fools with varnish'd faces; 
But stop my house's ears, I mean my casements; 
Let not the sound of shallow foppery enter 
My sober house. — By Jacob's staff, I swear 
I have no mind of feasting forth to-night: 
But I will go. — Go you before me, sirrah; 
Say I will come. 

Launcelot. I will go before, sir. — 

Mistress, look out at window, for all this; 40 

There will come a Christian by. 
Will be worth a Jewess' eye. [Exit. 

ShylocJc. What says that fool of Hagar's offspring ; 
ha.? 

Jessica. His words were 'Farewell, mistress'; 
nothing else. 

Shylock. The patch is kind enough; but a huge 
feeder. 
Snail-slow in profit, and he sleeps by day 
More than the wild-cat: drones hive not with me; 
Therefore I part with him; and part with him 
To one that I would have him help to waste 



Scene VI] MERCHANT OF VENICE 35 

His borrow'd purse. — Well, Jessica, go in; 50 

Perhaps I will return immediately; 
Do as I bid you; shut doors after you: 
Fast bind, fast find, — 

A proverb never stale in thrifty mind. [Exit. 

Jessica. Farewell; and if my fortune be not 
crost, 
I have a father, you a daughter, lost. [Exit. 



Scene VI 
The same. 

Enter Gratiano and Salarino, masqued. 
Gratiano. This is the pent-house under which 
Lorenzo 
Desired us to make stand. 

Salarino. His hour is almost past. 

Gratiano. And it is marvel he out-dwells his hour, 
For lovers ever run before the clock. 

Salarino. O, ten times faster Venus' pigeons fly 
To seal love's bonds new made, than they are wont 
To keep obliged faith unf orf eited ! 

Gratiano. That ever holds: who riseth from a 
feast 
With that keen appetite that he sits down.? 
Where is the horse that doth untread again 10 

His tedious measures with the unbated fire 
That he did pace them first ? All things that are. 
Are with more spirit chased than enjoy'd. 

Salarino. Here comes Lorenzo; more of this 
hereafter. 



36 MERCHANT OF VENICE [Act II 

Enter Lorenzo. 
Lorenzo. Sweet friends, your patience for my 
long abode; 
Not I, but my affairs, have made you wait: 
When you shall please to play the thieves for wives, 
I'll watch as long for you then. — Approach; 
Here dwells my father Jew. — Ho ! who's within "^ 

Enter Jessica, abcyve, in hoy's clothes. 
Jessica. Who are you.^ Tell me, for more cer- 20 
tainty. 
Albeit I'll swear that I do know your tongue. 
Lorenzo. Lorenzo, and thy love. 
Jessica. Lorenzo, certain; and my love, indeed; 
For who love I so much ? and now who knows 
But you, Lorenzo, whether I am yours ^ 

Lorenzo. Heaven and thy thoughts are witness 

that thou art. 
Jessica. Here, catch this casket; it is worth the 
pains. 
I am glad 'tis night, you do not look on me, 
For I am much ashamed of my exchange: 
But love is blind, and lovers cannot see 30 

The pretty follies that themselves commit; 
For, if they could, Cupid himself would blush 
To see me thus transformed to a boy. 

Lorenzo. Descend, for you must be my torch- 
bearer. 
Jessica. What, must I hold a candle to my 
shames ? 
They in themselves, good sooth, are too too light. 
Why, 'tis an office of discovery, love; 



Scene VI] MERCHANT OF VENICE 37 

And I should be obscured. 

Lorenzo. So you are, sweet. 

Even in the lovely garnish of a boy. 
But come at once; 40 

For the close night doth play the runaway, 
And we are stay'd for at Bassanio's feast. 

Jessica. I will make fast the doors, and gild my- 
self 
With some more ducats, and be with you straight. 

[Exit above. 
Gratiano. Now, by my hood, a Gentile and no 

Jew. 
Lorenzo. Beshrew me, but I love her heartily: 
For she is wise, if I can judge of her; 
And fair she is, if that mine eyes be true; 
And true she is, as she hath proved herself; 
And therefore, like herself, wise, fair, and true, 50 

Shall she be placed in my constant soul. 

Enter Jessica, below. 
What, art thou come ? — On, gentlemen; away 
Our masquing mates by this time for us stay. 

[Exit, with Jessica and Salarino. 

Enter Antonio. 
Antonio. Who's there .^ 
Gratiano. Signior Antonio ? 

Antonio. Fie, fie, Gratiano! where are all the 
rest ? 
'Tis nine o'clock; our friends all stay for you. 
No masque to-night; the wind is come about; 
Bassanio presently will go aboard: 
I have sent twenty out to seek for you. 60 



38 MERCHANT OF VENICE [Act II 

Gratiano. I am glad on't; I desire no more 
delight 
Than to be under sail and gone to-night. 

[Exeunt. 

Scene VII 

Belmont. A room in Portia's house. 

Flourish of Cornets. Enter Portia, with the Prince 
OF Morocco, and both their Trains. 
Portia. Go, draw aside the curtains, and discover 
The several caskets to this noble prince. 
Now make your choice. 

Morocco. The first, of gold, who this inscription 
bears : 
Who chooseth me shall gain what many men desire. 
The second, silver, which this promise carries: 

Who chooseth me shall get as much as he deserves. 
This third, dull lead, with warning all as blunt: 
Who chooseth me must give and hazard all he hath. 

How shall I know if I do choose the right? 10 

Portia. The one of them contains my picture, 
prince; 
If you choose that, then I am yours withal. 

Morocco. Some god direct my judgment ! Let me 
see; 
I will survey the inscriptions back again. 
What says this leaden casket .^^ 

Who chooseth me must give and hazard all he hath. 

Must give — for what ? for lead .? hazard for lead ? 
This casket threatens: men that hazard all 



Scene VII] MERCHANT OF VENICE 39 

Do it in hope of fair advantages; 

A golden mind stoops not to shows of dross; 20 

I'll then nor give nor hazard aught for lead. 

What says the silver with her virgin hue? 

Who chooseth me shall get as much as he deserves. 

As much as he deserves ? — Pause there, Morocco, 
And weigh thy value with an even hand: 
If thou be'st rated by thy estimation, 
Thou dost deserve enough; and yet enough 
May not extend so far as to the lady: 
And yet to be afeard of my deserving 
Were but a weak disabling of myself. 30 

As much as I deserve ! — Why, that's the lady : 
I do in birth deserve her, and in fortunes. 
In graces, and in qualities of breeding; 
But more than these, in love I do deserve. 
What if I stray 'd no further, but chose here ? — 
Let's see once more this saying graved in gold: 
Who chooseth me shall gain what many men desire. 

Why, that's the lady; all the world desires her: 

From the four corners of the earth they come 

To kiss this shrine, this mortal-breathing saint. 40 

The Hyrcanian deserts and the vasty wilds 

Of wide Arabia are as throughf ares now. 

For princes to come view fair Portia! 

The watery kingdom, whose ambitious head 

Spits in the face of heaven, is no bar 

To stop the foreign spirits; but they come. 

As o'er a brook, to see fair Portia. 

One of these three contains her heavenly picture. 

Is't like that lead contains her ? 'Twere damnation 



40 MERCHANT OF VENICE [Act II 

To think so base a thought: it were too gross 50 

To rib her cerecloth in the obscure grave. 

Or shall I think in silver she's immured, 

Being ten times undervalued to tried gold ? 

O sinful thought! Never so rich a gem 

Was set in worse than gold. They have in England 

A coin that bears the figure of an angel 

Stamped in gold, but that's insculped upon; 

But here an angel in a golden bed 

Lies all within. — Deliver me the key; 

Here do I choose, and thrive I as I may! 60 

Portia. There, take it, prince; and, if my form 
lie there, 
Then I am yours. \He unlocks the golden casket. 

Morocco. O hell ! what have we here ? 

A carrion death, within whose empty eye 
There is a written scroll! I'll read the writing. 

All that glisters is not gold; 

Often have you heard that told: 

Many a man his life hath sold 

But my outside to behold: 

Had you been as wise as bold, 70 

Young in hmbs, in judgment old. 

Your answer had not been inscroll'd: 

Fare you well; your suit is cold. 

Cold, indeed; and labor lost: 
Then, farewell, heat; and welcome, frost! — 
Portia, adieu! I have too grieved a heart 
To take a tedious leave: thus losers part. 

[Exit, with his TYSim.. Flourish of cornets. 
Portia. A gentle riddance. — Draw the curtains; 
go. , 
Let all of his complexion choose me so. [Exeunt. 



Scene VIII] MERCHANT OF VENICE 41 

Scene VIII 
Venice. A street. 
Enter Salarino and Salanio. 

Salarino. Why, man, I saw Bassanio under sail; 
With him is Gratiano gone along; 
And in their ship I am sure Lorenzo is not. 

Salanio. The villain Jew with outcries raised the 
duke; 
Who went with him to search Bassanio's ship. 

Salarino. He came too late, the ship was under 
sail: 
But there the duke was given to understand 
That in a gondola w^ere seen together 
Lorenzo and his amorous Jessica; 

Besides, Antonio certified the duke 10 

They were not with Bassanio in his ship. 

Salanio. I never heard a passion so confused, 
So strange, outrageous, and so variable. 
As the dog Jew did utter in the streets: 
*My daughter! — O my ducats! — O my daughter! 
Fled with a Christian ? — O my Christian ducats ! — 
Justice! the law! my ducats, and my daughter! 
A sealed bag, two sealed bags of ducats. 
Of double ducats, stolen from me by my daughter! 
And jewels; two stones, two rich and precious stones, 20 
Stolen by my daughter! — Justice! find the girl! 
She hath the stones upon her, and the ducats!' 

Salarino. Why, all the boys in Venice follow him. 
Crying — * his stones, his daughter, and his ducats. 

Salanio. Let good Antonio look he keep his day,' 
Or he shall pay for this. 



42 MERCHANT OF VENICE [Act II 

Salarino. Marry, well remember'd. 

I reason'd with a Frenchman yesterday, 
Who told me, in the narrow seas that part 
The French and English, there miscarried 
A vessel of our country, richly fraught: 30 

I thought upon Antonio when he told me. 
And wish'd in silence that it were not his. 

Salanio. You were best to tell Antonio what you 
hear; 
Yet do not suddenly, for it may grieve him. 

Salarino. A kinder gentleman treads not the 
earth. 
I saw Bassanio and Antonio part: 
Bassanio told him he would make some speed 
Of his return : he answered — ' Do not so. 
Slubber not business for my sake, Bassanio, 
But stay the very riping of the time; 40 

And for the Jew's bond which he hath of me, 
Let it not enter in your mind of love; 
Be merry; and employ your chief est thoughts 
To courtship, and such fair ostents of love 
As shall conveniently become you there:' 
And even there, his eye being big with tears. 
Turning his face, he put his hand behind him, 
And with affection wondrous sensible 
He wrung Bassanio's hand; and so they parted. 

Salanio I think he only loves the world for him. 50 
I pray thee, let us go and find him out. 
And quicken his embraced heaviness 
With some delight or other. 

Salarino. Do we so. [Exeunt. 



Scene IX] MERCHANT OF VENICE 43 

Scene IX 

Belmont. A room in Portia s house. 

Enter Nerissa with a Servitor. 
Nerissa. Quick, quick, I pray thee; draw the 
curtain straight; 
The Prince of Arragon hath ta'en his oath, 
And comes to his election presently. 

Flourish of Cornets. Enter the Prince of Arragon, 
Portia, and their Trains. 
Portia. Behold, there stand the caskets, noble 
prince; 
If you choose that wherein I am contain'd. 
Straight shall our nuptial rites be solemnized: 
But if you fail, without more speech, my lord. 
You must be gone from hence immediately. 

Arragon. I am enjoin'd by oath to observe three 
things : 
First, never to unfold to any one 10 

Which casket 'twas I chose; next, if I fail 
Of the right casket, never in my life 
To woo a maid in way of marriage; 
Lastly, if I do fail in fortune of my choice. 
Immediately to leave you and be gone. 

Portia. To these injunctions every one doth swear 
That comes to hazard for my worthless self. 

Arragon. And so have I address'd me. Fortune 
now 
To my heart's hope ! — Gold, silver, and base lead. 

Who choose th me must give and hazard all he hath. 20 

You shall look fairer ere I give or hazard. 



44 MERCHANT OP VENICE [Act II 

What says the golden chest ? ha ! let me see : 

Who chooseth me shall gain what many men desire. 
What many men desire ! That many may be meant 
By the fool multitude, that choose by show, 
Not learning more than the fond eye doth teach, 
Which pries not to th'interior, but, like the martlet, 
Builds in the weather on the out^vard wall. 
Even in the force and road of casualty. 
I will not choose what many men desire, 30 

Because I will not jump with common spirits, 
And rank me with the barbarous multitudes. 
Why, then to thee, thou silver treasure-house; 
Tell me once more what title thou dost bear : 
Who chooseth me shall get as much as he deserves. 

And well said too; for who shall go about 
To cozen fortune, and be honorable 
Without the stamp of merit! Let none presume 
To wear an undeserved dignity. 

O, that estates, degrees, and offices 40 

Were not derived corruptly! and that clear honor 
Were purchased by the merit of the wearer! 
How many then should cover that stand bare! 
How many be commanded that command! 
How much low peasantry would then be glean'd 
From the true seed of honor ! and how much honor 
Pick'd from the chaff and ruin of the times. 
To be new-varnish'd ! Well, but to my choice: 
Who chooseth me shall get as much as he deserves. 

I will assume desert. — Give me a key for this, 50 

And instantly unlock my fortunes here. 

[He opens the silver casket. 



Scene IX] MERCHANT OF VENICE 45 

Portia Too long a pause for that which you find 

there. 
Arragon. What's here ? the portrait of a bhnking 
idiot, 
Presenting me a schedule! I will read it. 
How much unlike art thou to Portia! 
How much unlike my hopes and my deservings 
Who chooseth me shall get as much as he deserves. 
Did I deserve no more than a fool's head.f^ 
Is that my prize ? are my deserts no better ? 

Portia. To offend and judge are distinct offices 60 
And of opposed natures. 

Arragon. What is here ? 

[Reads] 

The fire seven times tried this: 
Seven times tried that judgment is. 
That did never choose amiss: 
Some there be that shadows kiss; 
Such have but a shadow's bliss: 
There be fools alive, I wis, 
Silver'd o'er; and so was this. 
Take what wife you will to bed, 
I will ever be your head: 
So begone: you are sped. 

Still more fool I shall appear 

By the time I linger here: 

With one fool's head I came to woo, 

But I go away with two. 

Sweet, adieu! I'll keep my oath. 

Patiently to bear my wroth. 

[Exeunt Arragon and Train. 
Portia. Thus hath the candle singed the moth. 
O, these deliberate fools! when they do choose. 
They have the wisdom by their wit to lose. 80 



46 MERCHANT OF VENICE [Act II 

Nerissa. The ancient saying is no heresy, — 
Hanging and wiving goes by destiny. 

Portia. Come, draw the curtain, Nerissa. 

Enter a Servant. 

Servant. Where is my lady.'^ 

Portia. Here: what would my lord .^ 

Servant. Madam, there is alighted at your gate 
A young Venetian, one that comes before 
To signify the approaching of his lord. 
From whom he bringeth sensible regreets; 
To wit, besides commends and courteous breath. 
Gifts of rich value. Yet I have not seen 90 

So likely an ambassador of love: 
A day in April never came so sweet, 
To show how costly summer was at hand. 
As this fore-spurrer comes before his lord. 

Portia. No more, I pray thee: I am half afeard 
Thou wilt say anon he is some kin to thee, 
Thou spend'st such high-day wit in praising him. 
Come, come, Nerissa; for I long to see 
Quick Cupid's post that comes so mannerly. 

Nerissa. Bassanio, lord Love, if thy will it be ! lOO 

[Exeunt. 



ACT III 

Scene I 
Venice. A street. 

Enter Salanio and Salarino. 

Salanio. Now, what news on the Rialto? 

Salarino. Why, yet it lives there unchecked, that 
Antonio hath a ship of rich lading wrecked on the 
narrow seas, — the Goodwins, I think they call the 
place; a very dangerous flat, and fatal, where the car- 
casses of many a tall ship lie buried, as they say, if 
my gossip Report be an honest woman of her word. 

Salanio. I would she were as lying a gossip in 
that, as ever knapped ginger, or made her neighbors 
believe she wept for the death of a third husband, lo 
But it is true, — without any slips of prolixity, or 
crossing the plain highway of talk, — that the good 
Antonio, the honest Antonio, — O that I had a title 
good enough to keep his name company ! — 

Salarino. Come, the full stop. 

Salanio. Ha ! what say'st thou ? Why, the end 
is, he hath lost a ship. 

Salarino. I would it might prove the end of his 
losses ! 

Salanio. Let me say *amen* betimes, lest the 
devil cross my prayer; for here he comes in the 20 
likeness of a Jew. 



48 MERCHANT OF VENICE [Act III 

Enter Shylock. 
How now, Shylock! what news among the mer- 
chants ? 

Shylock. You knew, none so well, none so well as 
you, of my daughter's flight. 

Salarino. That's certain. I, for my part, knew 
the tailor that made the wings she flew withal. 

Salanio. And Shylock, for his own part, knew 
the bird was fledged; and then it is the complexion 
of them all to leave the dam. 30 

Shylock. She is damned for it. 

Salarino. That's certain, if the devil may be her 
judge. 

Shylock. My own flesh and blood to rebel! 

Salanio. Out upon it, old carrion! rebels it at 
these years ? 

Shylock. I say my daughter is my flesh and blood. 

Salarino. There is more difference between thy 
flesh and hers than between jet and ivory; more 
between your bloods, than there is between red wine 40 
and Rhenish. But tell us, do you hear whether 
Antonio have had any loss at sea or no ? 

Shylock. There I have another bad match: a 
bankrupt, a prodigal, who dare scarce show his head 
on the Rialto; a beggar that was used to come so 
smug upon the mart. Let him look to his bond : he 
was wont to call me usurer; let him look to his bond : 
he was wont to lend money for a Christian courtesy; 
let him look to his bond. 

Salarino. Why, I am sure, if he forfeit, thou wilt 50 
not take his flesh : what's that good for ? 

Shylock. To bait fish withal : if it will feed noth- 



Scene I] MERCHANT OF VENICE 49 

ing else, it will feed my revenge. He hath disgraced 
me, and hindered me half a million; laughed at 
my losses, mocked at my gains, scorned my nation, 
thwarted my bargains, cooled my friends, heated 
mine enemies; and what's his reason? I am a 
Jew. Hath not a Jew eyes ? hath not a Jew hands, 
organs, dimensions, senses, affections, passions.^ 
fed with the same food, hurt with the same weapons, 60 
subject to the same diseases, healed by the same 
means, warmed and cooled by the same winter and 
summer, as a Christian is ? If you prick us, do we 
not bleed ? If you tickle us, do we not laugh ? if 
you poison us, do we not die ? and if you wrong us, 
shall we not revenge ? If we are like you in the rest, 
we will resemble you in that. If a Jew wrong a 
Christian, what is his humility.^ Revenge. If a 
Christian wrong a Jew, what should his sufferance be 
by Christian example .^^ Why, revenge. The vil- 70 
lany you teach me, I will execute; and it shall go 
hard but I will better the instruction. 

Enter a Servant. 
Servant. Gentlemen, my master Antonio is at his 
house, and desires to speak with you both. 

Salarino. We have been up and down to seek him. 

Enter Tubal 
Salanio. Here comes another of the tribe; a 
third cannot be matched, unless the devil himself 
turn Jew. 

[Exeunt Salanio, Salarino, and Servant. 
Shyloch. How now. Tubal! what news from 
G enoa .? hast thou found my daughter .^ 80 



50 MERCHANT OF VENICE [Act III 

Tubal. I often came where I did hear of her, but 
cannot find her. 

Shylock. Why, there, there, there, there! a dia- 
mond gone, cost me two thousand ducats in Frank- 
fort! The curse never fell upon our nation till now; 
I never felt it till now: two thousand ducats in that; 
and other precious, precious jewels. I would my 
daughter were dead at my foot, and the jewels in 
her ear! would she were hearsed at my foot, and 
the ducats in her coffin ! No news of them ? — Why, 90 
so : — and I know not what's spent in the search. 
Why, thou loss upon loss! the thief gone with so 
much, and so much to find the thief; and no satisfac- 
tion, no revenge: nor no ill luck stirring but what 
lights o' my shoulders; no sighs but o' my breathing; 
no tears but o' my shedding. .J ^ i 

Tubal. Yes, other men have ill luck too. Anto- 
nio, as I heard in Genoa, — 

Shylock. What, what, what.^ ill luck, ill luck.? 

Tubal. — hath an argosy cast away, coming 100 
from Tripolis. 

Shylock. I thank God, I thank God! — is it true, 
is it true ? 

Tubal. I spoke with some of the sailors that es- 
caped the wreck. 

Shylock. I thank thee, good Tubal: good news, 
good news! ha, ha! — here in Genoa. 

Tubal. Your daughter spent in Genoa, as I heard, 
in one night fourscore ducats. 

Shylock. Thou stick'st a dagger in me: I shall 110 
never see my gold again. Fourscore ducats at a sit- 
ting! fourscore ducats! 



Scene II] MERCHANT OF VENICE 51 

Tubal. There came divers of Antonio's creditors 
in my company to Venice, that swear he cannot 
choose but break. 

Shylock I am very glad of it: I'll plague him; 
I'll torture him; I am glad of it. 

Tubal. One of them showed me a ring that he 
had of your daughter for a monkey. 

Shylock. Out upon her! Thou torturest me, 120 
Tubal : it was my turquoise : I had it of Leah when I 
was a bachelor: I would not have given it for a wil- 
derness of monkeys. 

Tubal. But Antonio is certainly undone. 

Shylock. Nay, that's true, that's very true. Go, 
Tubal, fee me an officer, bespeak him a fortnight 
before: I will have the heart of him, if he forfeit;^ 
for, were he out of Venice, I can make what mer- 
chandise I will. Go, Tubal, and meet me at our 
synagogue; go, good Tubal; at our synagogue, 130 
Tubal. 

[Exeunt. 
Scene II 

Belmont. A room in Portia's house. 

Enter Bassanio, Portia, Gratiano, Nerissa, and 
Attendants. 
Portia. I pray you, tarry: pause a day or two 
Before you hazard; for, in choosing wrong, 
I lose your company; therefore, forbear awhile. 
There's something tells me — but it is not love — 
I would not lose you; and you know yourself 
Hate counsels not in such a quality. 
But lest you should not understand me well, — 



52 MERCHANT OF VENICE [Act III 

And yet a maiden hath no tongue but thought, — 

I would detain you here some month or two 

Before you venture for me. I could teach you 10 

How to choose right, but then I am forsworn; 

So will I never be: so may you miss me; 

But if you do, you'll make me wish a sin. 

That I had been forsworn. Beshrew your eyes, 

They have o'erlook'd me and divided me; 

One half of me is yours, the other half yours, — 

Mine own, I would say; but if mine, then yours. 

And so all yours. O, these naughty times 

Put bars between the owners and their rights ! 

And so, though yours, not yours. Prove it so, 20 

Let fortune go to hell for it, not I. 

I speak too long; but 'tis to peize the time, 

To eke it and to draw it out in length. 

To stay you from election. 

Bassanio. Let me choose; 

For, as I am, I live upon the rack. 

Portia. Upon the rack, Bassanio! then confess 
What treason there is mingled with your love. 

Bassanio. None but that ugly treason of mis- 
trust. 
Which makes me fear the enjoying of my love: 
There may as well be amity and life 30 

'Tween snow and fire, as treason and my love. 

Portia. Ay, but I fear you speak upon the rack. 
Where men enforced do speak anything. 

Bassanio. Promise me life, and I'll confess the 
truth. 

Portia. Well, then, confess and live. 

Bassanio. Confess and love 



Scene II] MERCHANT OF VENICE 53 

Had been the very sum of my confession: 

happy torment, when my torturer 
Doth teach me answers for dehverance! 
But let me to my fortune and the caskets. 

Portia. Away, then! I am lock'd in one of 

them : 40 

If you do love me, you will find me out. 
Nerissa and the rest, stand all aloof. 
Let music sound while he doth make his choice; 
Then, if he lose, he makes a swan-like end. 
Fading in music: that the comparison 
May stand more proper, my eye shall be the stream 
And watery death-bed for him. He may win; 
And what is music then ? Then music is 
Even as the flourish when true subjects bow 
To a new-crowned monarch: such it is, 50 

As are those dulcet sounds in break of day 
That creep into the dreaming bridegroom's ear 
And summon him to marriage. Now he goes. 
With no less presence, but with much more love. 
Than young Alcides, when he did redeem 
The virgin tribute paid by howling Troy 
To the sea-monster: I stand for sacrifice; 
The rest aloof are the Dardanian wives. 
With bleared visages, come forth to view 
The issue of the exploit. Go, Hercules! 60 

Live thou, I live. With much much more dismay 

1 view the fight than thou that mak'st the fray. 
Music, whilst Bassanio comments on the caskets to 

himself. 



54 MERCHANT OF VENICE [Act III 

SONG 

Tell me where is fancy bred, 
Or in the heart or in the head. 
How begot, how nourished. 

Reply, reply. 
It is engender'd in the eyes. 
With gazing fed; and fancy dies 
In the cradle where it lies. 

Let us all ring fancy's knell; 70 

I'll begin it, — Ding, dong, beU. 
All. Ding, dong, bell. 

Bassanio. So may the outward shows be least 
themselves : 
The world is still deceived with ornament. 
In law, what plea so tainted and corrupt 
But, being season'd with a gracious voice, 
Obscures the show of evil ? In religion, f. 
What damned error, but some sober brow 
Will bless it and approve it with a text. 
Hiding the grossness with fair ornament ? 80 

There is no vice so simple but assumes 
Some mark of virtue on his outward parts. 
How many cowards, whose hearts are all as false 
As stairs of sand, wear yet upon their chins 
The beards of Hercules and frowning Mars, 
Who, inward search'd, have livers white as milk; 
And these assume but valor's excrement 
To render them redoubted! Look on beauty, 
And you shall see 'tis purchased by the weight; 
Which therein works a miracle in nature, 90 

Making them lightest that wear most of it: 
So are those crisped snaky golden locks 
Which make such wanton gambols with the wind. 
Upon supposed fairness, often known 



Scene II] MERCHANT OF VENICE 55 

To be the dowry of a second head, 

The skull that bred them in the sepulchre. 

Thus ornament is but the guiled shore 

To a most dangerous sea; the beauteous scarf 

Veiling an Indian beauty; in a word, 

The seeming truth which cunning times put on lOO 

To entrap the wisest. Therefore, thou gaudy gold. 

Hard food for Midas, I will none of thee: 

Nor none of thee, thou pale and common drudge 

'Tween man and man. But thou, thou meagre 

lead, 
Which rather threatenest than dost promise aught. 
Thy paleness moves me more than eloquence; 
And here choose I. Joy be the consequence! 

Portia. [Aside] How all the other passions fleet 

' to air. 
As doubtful thoughts and rash-embraced despair 
And shuddering fear and green-eyed jealousy! lio 

love, be moderate; allay thy ecstasy; 
In measure rain thy joy; scant this excess. 

1 feel too much thy blessing: make it less. 
For fear I surfeit! 

Bassanio. What find I here ? 

[Opening the leaden casket. 
Fair Portia's counterfeit! What demi-god 
Hath come so near creation? Move these eyes? 
Or whether, riding on the balls of mine, 
Seem they in motion.'^ Here are sever'd lips, 
Parted with sugar breath: so sweet a bar 
Should sunder such sweet friends. Here in her hairs 120 
The painter plays the spider, and hath woven 
A golden mesh to entrap the hearts of men, 



56 MERCHANT OF VENICE [Act III 

Faster than gnats in cobwebs. But her eyes ! — 
How could he see to do them? having made one, 
Methinks it should have power to steal both his. 
And leave itself unfurnish'd. Yet look, how far 
The substance of my praise doth wrong this shadow 
In underprizing it, so far this shadow 
Doth limp behind the substance. — Here's the scroll. 
The continent and summary of my fortune. 130 

You that choose not by the view 
Chance as fair, and choose as true! 
Since this fortune falls to you. 
Be content, and seek no new. 
If you be pleased with this 
And hold your fortune for your bliss. 
Turn you where your lady is 
And claim her with a loving kiss, 

A gentle scroll. — Fair lady, by your leave, 

I come by note, to give and to receive. 140 

Like one of two contending in a prize. 

That thinks he hath done well in people's eyes. 

Hearing applause and universal shout. 

Giddy in spirit, still gazing in a doubt 

Whether those peals of praise be his or no; 

So, thrice-fair lady, stand I, even so; 

As doubtful whether what I see be true. 

Until confirm'd, sign'd, ratified by you. 

Portia. You see me, lord Bassanio, where I stand, 
Buch as I am: though for myself alone 150 

I would not be ambitious in my wish. 
To wish myself much better; yet for you 
I would be trebled twenty times myself: 
A thousand times more fair, ten thousand times 
More rich; 



Scene II] MERCHANT OF VENICE 57 

That, only to stand high in your account, 

I might in virtues, beauties, Uvings, friends, 

Exceed account: but the full sum of me 

Is sum of — something, which, to term in gross, 

Is an -unlesson'd girl, unschool'd, unpractised: 160 

Happy in this, she is not yet so old 

But she may learn; happier than this, 

She is not bred so dull but she can learn; 

Happiest of all in that her gentle spirit 

Commits itself to yours to be directed. 

As from her lord, her governor, her king. 

Myself and what is mine to you and yours 

Is now converted: but now I was the lord 

Of this fair mansion, master of my servants. 

Queen o'er myself; and even now, but now, 170 

This house, these servants, and this same myself 

Are yours, my lord: I give them with this ring; 

Which when you part from, lose, or give away, 

Let it presage the ruin of your love, 

And be my vantage to exclaim on you. 

Bassanio. Madam, you have bereft me of all 
words; 
Only my blood speaks to you in my veins: 
And there is such confusion in my powers 
As, after some oration fairly spoke 
By a beloved prince, there doth appear 180 

Among the buzzing, pleased multitude; 
Where every something, being blent together, 
Turns to a wild of nothing, save of joy, 
Express'd and not express'd. But when this ring 
Parts from this finger, then parts life from hence; 
O, then be bold to say Bassanio's dead! 



58 MERCHANT OF VENICE [Act III 

Nerissa. My lord and lady, it is now our time, 
That have stood by and seen our wishes prosper, 
To cry, good joy: good joy, my lord and lady! 

Gratiano. My lord Bassanio and my gentle lady, 190 
I wish you all the joy that you can wish; 
For I am sure you can wish none from me: 
And when your honors mean to solemnize 
The bargain of your faith, I do beseech you 
Even at that time I may be married too. 

Bassanio. With all my heart, so thou canst get a 
wife. 

Gratiano. I thank your lordship; you have got 
me one. 
My eyes, my lord, can look as swift as yours: 
You saw the mistress, I beheld the maid; 
You loved, I loved; for intermission 200 

No more pertains to me, my lord, than you. 
Your fortune stood upon the caskets there; 
And so did mine too, as the matter falls; 
For wooing here until I sweat again. 
And swearing till my very roof was dry 
With oaths of love, at last, — if promise last, — 
I got a promise of this fair one here 
To have her love, provided that your fortune 
Achieved her mistress. 

Portia. Is this true, Nerissa .^^ 

Nerissa. Madame, it is, so you stand pleased 
withal. 210 

Bassanio. And do you, Gratiano, mean good faith? 

Gratiano. Yes, faith, my lord. 

Bassanio. Our feast shall be much honor'd in 
your marriage. J 



Scene II] MERCHANT OF VENICE 59 

Gratiano. But who comes here? Lorenzo and 
his infidel? 
What, and my old Venetian friend, Salerio? 

Enter Lorenzo, Jessica, and Salerio. 

Bassanio. Lorenzo and Salerio, welcome hither; 
If that the youth of my new interest here 
Have power to bid you welcome. — By your leave, 
I bid my very friends and countrymen, 
Sweet Portia, welcome. 

Portia. So do I, my lord; 220 

They are entirely welcome. 

Lorenzo. I thank your honor. — For my part, 
my lord. 
My purpose was not to have seen you here; 
But meeting with Salerio by the way. 
He did entreat me, past all saying nay. 
To come with him along. 

Salerio. I did, my lord; 

And I have reason for it. Signior Antonio 
Commends him to you. [Gives Bassanio a letter. 

Bassanio. Ere I ope this letter, 

I pray you, tell me how my good friend doth. 

Salerio. Not sick, my lord, unless it be in mind; 230 
Nor well, unless in mind: his letter there 
Will show you his estate. 

Gratiano. Nerissa, cheer yon stranger; bid her 
welcome. — 
Your hand, Salerio. What's the news from Venice ? 
How doth that royal merchant, good Antonio? 
I know he will be glad of our success; 
We are the Jasons, we have won the fleece. 



60 MERCHANT OF VENICE [Act III 

Salerio. I would you had won the fleece that he 
hath lost! 

Portia. There are some shrewd contents in yon 
same paper, 
That steal the color from Bassanio's cheek: 240 

Some dear friend dead; else nothing in the world 
Could turn so much the constitution 
Of any constant man. What, worse and worse ? — 
With leave, Bassanio; I am half yourself. 
And I must freely have the half of anything 
That this same paper brings you. 

Bassanio. * O sweet Portia, 

Here are a few of the unpleasant'st words 
That ever blotted paper! Gentle lady, 
When I did first impart my love to you, 
I freely told you, all the wealth I had 250 

Ran in my veins, — I was a gentleman; 
And then I told you true : and yet, dear lady, 
Rating myself at nothing, you shall see 
How much I was a braggart. When I told you 
My state was nothing, I should then have told you 
That I was worse than nothing; for, indeed, 
I have engaged myself to a dear friend. 
Engaged my friend to his mere enemy, 
To feed my means. Here is a letter, lady; 
The paper as the body of my friend, 260 

And every word in it a gaping wound, 
Issuing life-blood. But is it true, Salerio ? 
Have all his ventures f ail'd ? What, not one hit ? 
From Tripolis, from Mexico, and England, 
From Lisbon, Barbary, and India ? 
And not one vessel 'scape the dreadful touch 



Scene II] MERCHANT OF VENICE 61 

Of merchant-marring rocks ? 

Salerio. Not one, my lord. 

Besides, it should appear that, if he had 
The present money to discharge the Jew, 
He would not take it. Never did I know 270 

A creature that did bear the shape of man. 
So keen and greedy to confound a man: 
He plies the duke at morning and at night; 
And doth impeach the freedom of the state, 
If they deny him justice: twenty merchants. 
The duke himself, and the magnificoes 
Of greatest port, have all persuaded with him; 
But none can drive him from the envious plea 
Of forfeiture, of justice, and his bond. 

Jessica. When I was with him, I have heard 
him swear 280 

To Tubal, and to Chus, his countrymen, 
That he would rather have Antonio's flesh 
Than twenty times the value of the sum 
That he did owe him; and I know, my lord. 
If law, authority, and power deny not. 
It will go hard with poor Antonio. 

Portia. Is it your dear friend that is thus in 
trouble ? 

Bassanio. The dearest friend to me, the kindest 
man. 
The best conditioned and unwearied spirit 
In doing courtesies; and one in whom 290 

The ancient Roman honor more appears 
Than any that draws breath in Italy. 

Portia. What sum owes he the Jew.?^ 

Bassanio. For me three thousand ducats. 



/ 

G2 MERCHANT OF VENICE [Act III 

Portia. What, no more? 

Pay him six thousand, and deface the bond; 
Double six thousand, and then treble that, 
Before a friend of this description 
Shall lose a hair through Bassanio's fault. 
First go with me to church and call me wife. 
And then away to Venice to your friend; 300 

For never shall you lie by Portia's side 
With an unquiet soul. You shall have gold 
To pay the petty debt twenty times over; 
When it is paid, bring your true friend along. 
My maid Nerissa and myself meantime 
Will live as maids and widows. Come, away! 
For you shall hence upon your wedding-day: 
Bid your friends welcome, show a merry cheer: 
Since you are dear bought, I will love you dear. 
But let me hear the letter of your friend. 310 

Bassanio. \reads\ 

Sweet Bassanio, my ships have all miscarried, my creditors 
grow cruel, my estate is very low, my bond to the Jew is forfeit; 
and since, in paying it, it is impossible I should Hve, all debts are 
cleared between you and I, if I might but see you at my death. 
Notwithstanding, use your pleasure; if your love do not per- 
suade you to come, let not my letter. 

Portia. O love, dispatch all business, and be gone! 

Bassanio. Since I have your good leave to go 
away, 
I will make haste : but, till I come again, 
No bed shall e'er be guilty of my stay, 320 

Nor rest be interposer 'twixt us twain. [Exeunt. 



Scene III] MERCHANT OF VENICE 63 

Scene III 
Venice. A street. 

Enter Shylock, Salarino, Antonio, and Gaoler. 

Shylock. Gaoler, look to him: tell not me of 
mercy : 
This is the fool that lends out money gratis. 
Gaoler, look to him. 

Antonio. Hear me yet, good Shylock. 

Shylock. I'll have my bond; speak not against 
my bond: 
I have sworn an oath that I will have my bond. 
Thou call'dst me dog before thou hadst a cause: 
But, since I am a dog, beware my fangs: 
The duke shall grant me justice, — I do wonder. 
Thou naughty gaoler, that thou art so fond 
To come abroad with him at his request. 10 

Antonio. I pray thee, hear me speak. 

Shylock. I'll have my bond; I will not hear thee 
speak: 
I'll have my bond; and therefore speak no more. 
I'll not be made a soft and dull-eyed fool. 
To shake the head, relent, and sigh, and yield 
To Christian intercessors. Follow not; 
I'll have no speaking; I will have my bond. [Exit. 

Salarino. It is the most impenetrable cur 
That ever kept with men. 

Antonio. Let him alone: 

I'll follow him no more with bootless prayers. 20 

He seeks my life; his reason well I know: 
I oft deliver'd from his forfeitures 



64 MERCHANT OF VENICE [Act III 

Many that have at times made moan to me; 
Therefore he hates me. 

Salarino. I am sure the duke 

Will never grant this forfeiture to hold. 

Antonio. The duke cannot deny the course of 
law; 
For the commodity that strangers have 
With us in Venice, if it be denied, 
Will much impeach the justice of the state; 
Since that the trade and profit of the city 30 

Consisteth of all nations. Therefore, go: 
These griefs and losses have so 'bated me. 
That I shall hardly spare a pound of flesh 
To-morrow to my bloody creditor. 
Well, gaoler, on. — Pray God, Bassanio come 
To see me pay his debt, and then I care not ! 

\Exeunt. 

Scene IV 

Belmont. A room in Portia's house. 

Enter Portia, Nerissa, Lorenzo, Jessica, and 
Balthazar. 

Lorenzo. Madam, although I speak it in your 
presence, 
You have a noble and a true conceit 
Of God-like amity; which appears most strongly 
In bearing thus the absence of your lord. 
But, if you knew to whom you show this honor, 
How true a gentleman you send relief. 
How dear a lover of my lord your husband, 
I know you would be prouder of the work 
Than customary bounty can enforce you. 



Scene IV] MERCHANT OF VENICE 65 

Portia. I never did repent for doing good, lo 

Nor shall not now: for in companions 
That do converse and waste the time together, 
Whose souls do bear an equal yoke of love, 
There must be needs a like proportion 
Of lineaments, of manners, and of spirit; 
Which makes me think that this Antonio, 
Being the bosom lover of my lord. 
Must needs be like my lord. If it be so. 
How little is the cost I have bestow'd 
In purchasing the semblance of my soul 20 

From out the state of hellish cruelty ! 
This comes too near the praising of myself; 
Therefore no more of it: hear other things. 
Lorenzo, I commit into your hands 
The husbandry and manage of my house 
Until my lord's return: for mine own part, 
I have toward heaven breathed a secret vow 
To live in prayer and contemplation. 
Only attended by Nerissa here. 

Until her husband and my lord's return: 30 

There is a monastery two miles off, 
And there we will abide. I do desire you 
Not to deny this imposition, 
The which my love and some necessity 
Now lays upon you. 

Lorenzo. Madam, with all my heart, 

I shall obey you in all fair commands. 

Portia. My people do already know my mind, 
And will acknowledge you and Jessica 
In place of lord Bassanio and myself. 
So fare you well till we shall meet again. 40 



66 MERCHANT OF VENICE [Act III 

Lorenzo. Fair thoughts and happy hours attend 
on you ! 

Jessica. I wish your ladyship all heart's content. 

Portia. I thank you for your wish, and am well 
pleased 
To wish it back on you: fare you well, Jessica. 
[Exeunt Jessica and Lorenzo. 
Now, Balthazar, 

As I have ever found thee honest-true. 
So let me find thee still. Take this same letter. 
And use thou all the endeavor of a man 
In speed to Padua; see thou render this 
Into my cousin's hand, Doctor Bellario; 50 

And look what notes and garments he doth give 

thee. 
Bring them, I pray thee, with imagined speed 
Unto the tranect, to the common ferry 
Which trades to Venice. Waste no time in words. 
But get thee gone; I shall be there before thee. 

Balthazar. Madam, I go w4th all convenient 
speed. [Exit. 

Portia. Come on, Nerissa; I have work in hand 
That you yet know not of: we'll see our husbands 
Before they think of us. 

Nerissa. Shall they see us.f^ 

Portia. They shall, Nerissa; but in such a habit 60 
That they shall think we are accomplished 
With that we lack. I'll hold thee any wager. 
When we are both accoutred like young men, 
I'll prove the prettier fellow of the two. 
And wear my dagger with the braver grace; 
And speak, between the change of man and boy, 



Scene V] MERCHANT OF VENICE 67 

With a reed voice; and turn two mincing steps 

Into a manly stride; and speak of frays, 

Like a j&ne-bragging youth; and tell quaint lies. 

How honorable ladies sought my love, 70 

Which I denying, they fell sick and died; 

I could not do withal: then I'll repent. 

And wish, for all that, that I had not kill'd them; 

And twenty of these puny lies I'll tell, 

That men shall swear I've discontinued school 

Above a twelvemonth : — I have within my mind 

A thousand raw tricks of these bragging Jacks, 

Which I will practise. 

But come, I'll tell thee all my whole device 

When I am in my coach, which stays for us 80 

At the park gate; and therefore haste away, 

For we must measure twenty miles to-day. [Exeunt. 

Scene V 
The same. A garden. 

Enter Launcelot and Jessica. 

Launcelot. Yes, truly; for, look you, the sins of 
the father are to be laid upon the children : therefore, ' 
I promise you, I fear you. I was always plain with 
you, and so now I speak my agitation of the matter: 
therefore be of good cheer; for, truly, I think you 
are damned. There is but one hope in it that can do 
you any good; and that is but a kind of bastard 
hope neither. 

Jessica. And what hope is that, I pray thee ? 

Launcelot. Marry, you may partly hope that you 10 
are not the Jew's daughter. 



68 MERCHANT OF VENICE [Act III 

Jessica. That were a kind of bastard hope, indeed : 
so the sins of my mother should be visited upon 
me. 

Launcelot. Truly then I fear you are damned 
both by father and mother : thus when I shun Scylla, 
your father, I fall into Chary bdis, your mother; well, 
you are gone both ways, 

Jessica. I shall be saved by my husband; he 
hath made me a Christian. 20 

Launcelot. Truly, the more to blame he : we were 
Christians enow before; e'en as many as could well 
live, one by another. This making of Christians will 
raise the price of hogs; if we grow all to be pork- 
eaters, we shall not shortly have a rasher on the coals 
for money. 

Enter Lorenzo. 

Jessica. I'll tell my husband, Launcelot, what 
you say; here he comes. p*^? 

Lorenzo. I shall grow jealous of you shortly, 
Launcelot, if you thus get my wife into corners. 30 

Jessica. Nay, you need not fear us, Lorenzo. 
Launcelot and I are out : he tells me flatly, there is 
no mercy for me in heaven, because I am a Jew's 
daughter: and he says you are no good member of 
the commonwealth; for, in converting Jews to 
Christians, you raise the price of pork. 

Lorenzo. I think the best grace of wit will shortly 
turn into silence, and discourse grow commendable 
in none only but parrots. — Go in, sirrah; bid them 
prepare for dinner. 40 

Launcelot. That is done, sir; they have all stom- 
achs. 



Scene V] MERCHANT OF VENICE 69 

Lorenzo. Goodly Lord, what a wit-snapper are 
you! then bid them prepare dinner. 

Launcelot. That is done, too, sir; only 'cover' is 
the word. 

Lorenzo. Will you cover, then, sir ? 

Launcelot. Not so, sir, neither; I know my duty. 

Lorenzo. Yet more quarrelling with occasion! 
Wilt thou show the whole wealth of thy wit in an in- 
stant ? I pray thee, understand a plain man in his 50 
plain meaning: go to thy fellows; bid them cover 
the table, serve in the meat, and we will come in to 
dinner. 

Launcelot. For the table, sir, it shall be served in; 
for the meat, sir, it shall be covered; for your coming 
in to dinner, sir, why, let it be as humors and 
conceits shall govern. 

[Exit 

Lorenzo. O dear discretion, how his words are 
suited ! 
The fool hath planted in his memory 
An army of good words; and I do know 
A many fools, that stand in better place, 60 

Garnish'd like him, that for a tricksy word 
Defy the matter. — How cheer'st thou, Jessica ? 
And now, good sweet, say thy opinion: 
How dost thou like the lord Bassanio's wife.f^ 

Jessica. Past all expressing. It is very meet 
The lord Bassanio live an upright life; 
For, having such a blessing in his lady. 
He finds the joys of heaven here on earth; 
And if on earth he do not mean it, then 
In reason he should never come to heaven. 70 



70 MERCHANT OF VENICE [Act III 

Why, if two gods should play some heavenly match, 
And on the wager lay two earthly women, 
And Portia one, there must be something else 
Pawn'd with the other; for the poor rude world 
Hath not her fellow. 

Lorenzo. Even such a husband 

Hast thou of me, as she is for a wife. 

Jessica. Nay, but ask my opinion too of that. 

Lorenzo. I will anon; first, let us go to dinner. 

Jessica. Nay, let me praise you while I have a 
stomach. 

Lorenzo. No, pray thee, let it serve for table-talk; 80 
Then, howsoe'er thou speak'st, 'mong other things 
I shall digest it. 

Jessica. Well, I'll set you forth. [Exeunt. 



ACT IV 

Scene I 

Venice. A court of justice. 

Enter the Duke, the Magnificoes, Antonio, Bassanio, 
Gratiano, Salarino, Salerio, and others. 

Duke. What, is Antonio here? 

Antonio. Ready, so please your grace. 

Duke. I am sorry for thee; thou art come to an- 
swer 
A stony adversary, an inhuman wretch 
Uncapable of pity, void and empty 
From any dram of mercy. 

Antonio. I have heard 

Your grace hath ta'en great pains to quahfy 
His rigorous course; but since he stands obdurate. 
And that no lawful means can carry me 
Out of his envy's reach, I do oppose 10 

My patience to his fury; and am arm*d 
To suffer, with a quietness of spirit, 
The very tyranny and rage of his. 

Duke. Go one, and call the Jew into the court. 

Salerio. He is ready at the door: he comes, my 
lord. 

Enter Shylock. 

Duke. Make room, and let him stand before our 
face. 
Shylock, the world thinks, and I think so too. 
That thou but lead'st this fashion of thy malice 



72 MERCHANT OF VENICE [Act IV 

To the last hour of act; and then 'tis thought 

Thou'lt show thy mercy and remorse, more strange 20 

Than is thy strange apparent cruelty; 

And where thou now exact'st the penalty, 

Which is a pound of this poor merchant's flesh, 

Thou wilt not only loose the forfeiture. 

But, touch'd with human gentleness and love. 

Forgive a moiety of the principal; 

Glancing an eye of pity on his losses. 

That have of late so huddled on his back. 

Enough to press a royal merchant down 

And pluck commiseration of his state 30 

From brassy bosoms and rough hearts of flint. 

From stubborn Turks and Tartars, never train'd 

To offices of tender courtesy. 

We all expect a gentle answer, Jew. 

Shylock. I have possess'd your grace of what I 
purpose; 
And by our holy Sabbath have I sworn 
To have the due and forfeit of my bond: 
If you deny it, let the danger light 
Upon your charter and your city's freedom. 
You'll ask me, why I rather choose to have 40 

A weight of carrion flesh than to receive 
Three thousand ducats: I'll not answer that: 
But say it is my humor: is it answer'd.f^ 
What if my house be troubled with a rat. 
And I be pleased to give ten thousand ducats 
To have it baned.? What, are you answer'd yet.f^ 
Some men there are love not a gaping pig; 
Some, that are mad if they behold a cat; 
Some, when they hear the bagpipe. 



Scene I] MERCHANT OF VENICE 

As there is no firm reason to be render'd. 

Why he cannot abide a gaping pig; 

Why he, a harmless necessary cat; 

Why he, a wauUng bagpipe; but of force 

Must yield to such inevitable shame 

As to offend, himself being offended; 

So can I give no reason, nor I will not, 

More than a lodged hate and a certain loathing 

I bear Antonio, that I follow thus 

A losing suit against him. Are you answer'd ? 

Bassanio. This is no answer, thou unfeeling man. 
To excuse the current of thy cruelty. 

Shylock. I am not bound to please thee with my 
answer. 

Bassanio. Do all men kill the things they do not 
love ? 

Shylock. Hates any man the thing he would not 
kill.^ 

Bassanio. Every offence is not a hate at first. 

Shylock. What, wouldst thou have a serpent 
sting thee twice .^ 

Antonio. I pray you, think you question with 
the Jew: 
You may as well go stand upon the beach, 
And bid the main flood bate his usual height; 
You may as well use question with the wolf 
Why he hath made the ewe bleat for the lamb; 
You may as well forbid the mountain pines 
To wag their high tops, and to make no noise 
When they are fretted with the gusts of heaven; 
You may as well do anything most hard. 
As seek to soften that (than which what's harder.^) 



74 MERCHANT OF VENICE [Act IV 

His Jewish heart : therefore, I do beseech you, 

Make no more offers, use no further means ; 

But with all brief and plain conveniency, 

Let me have judgment and the Jew his will. 80 

Bassanio. For thy three thousand ducats here is 
six. 

Shylock. If every ducat in six thousand ducats 
Were in six parts and every part a ducat, 
I would not draw them; I would have my bond. 

Duke. How shalt thou hope for mercy, rendering 



none 



Shylock. What judgment shall I dread, doing no 
wrong ? 
You have among you many a purchased slave. 
Which, like your asses and your dogs and mules. 
You use in abject and in slavish parts. 
Because you bought them. Shall I say to you, 90 

Let them be free, marry them to your heirs ? 
Why sweat they under burthens ? Let their beds 
Be made as soft as yours, and let their palates 
Be season 'd with such viands ? You will answer, 
* The slaves are ours ' : so do I answer you : 
The pound of flesh which I demand of him 
Is dearly bought ; 'tis mine, and I will have it : 
If you deny me, fie upon your law ! 
There is no force in the decrees of Venice : 
I stand for judgment : answer, shall I have it ? lOO 

Duke. Upon my power I may dismiss this court, 
Unless Bellario, a learned doctor. 
Whom I have sent for to determine this. 
Come here to-day. 

Salerio. My lord, here stays without 



Scene I] MERCHANT OF VENICE 75 

A messenger with letters from the doctor, 
New come from Padua. 

Duke. Bring us the letters ; call the messenger. 

Bassanio. Good cheer, Antonio ! What, man ! 
courage yet ! 
The Jew shall have my flesh, blood, bones, and all. 
Ere thou shalt lose for me one drop of blood. no 

Antonio. I am a tainted wether of the flock, 
Meetest for death : the weakest kind of fruit 
Drops earliest to the ground ; and so let me : 
You cannot better be employ'd, Bassanio, 
Than to live still and write mine epitaph. 

Enter Nerissa, dressed like a lawyer* s clerk. 
Duke. Came you from Padua, from Bellario ? 
Nerissa. From both, my lord : Bellario greets 

your grace. [Presenting a letter. 

Bassanio. Why dost thou whet thy knife so earn- 
estly ? 
Shylock. To cut the forfeit from that bankrupt 

there. 
Gratiano. Not on thy sole, but on thy soul, harsh 120 
Jew, 
Thou mak'st thy knife keen ; but no metal can. 
No, not the hangman's axe, bear half the keenness 
Of thy sharp envy. Can no prayers pierce thee ? 
Shylock. No, none that thou hast wit enough to 

make. 
Gratiano. O, be thou damn'd, inexorable dog ! 
And for thy life let justice be accused. 
Thou almost mak'st me waver in my faith. 
To hold opinion with Pythagoras, 



76 MERCHANT OF VENICE [Act IV 

That souls of animals infuse themselves 

Into the trunks of men: thy currish spirit 130 

Govern'd a wolf, who, hang'd for human slaughter, 

Even from the gallows did his fell soul fleet. 

And, whilst thou lay'st in thy unhallow'd dam, 

Infused itself in thee; for thy desires 

Are wolfish, bloody, starv'd, and ravenous. 

Shylock. Till thou canst rail the seal from off my 
bond. 
Thou but offend' st thy lungs to speak so loud: 
Repair thy wit, good youth, or it will fall 
To cureless ruin. I stand here for law. 

Duke. This letter from Bellario doth commend 140 
A young and learned doctor to our court. 
Where is he ? 

Nerissa. He attendeth here hard by. 

To know your answer, whether you'll admit him. 

Duke. With all my heart. Some three or four 
of you 
Go give him courteous conduct to this place. 
Meantime the court shall hear Bellario's letter. 

Clerk [reads] . 

Your grace shall understand that at the receipt of your letter 
I am very sick; but in the instant that your messenger came, 150 
in loving visitation was with me a yoimg doctor of Rome; his 
name is Balthazar. I acquainted him with the cause in con- 
troversy between the Jew and Antonio the merchant: we turn'd 
o'er many books together: he is furnished with my opinion; 
which, bettered with his own learning (the greatness whereof 
I cannot enough commend), comes with him, at my importu- 
nity, to fill up your grace's request in my stead. I beseech you, 
let his lack of years be no impediment to let him lack a reverend 
estimation; for I never knew so young a body with so old a 
head. I leave him to your gracious acceptance, whose trial 160 
sliall better publish his commendation. 



Scene I] MERCHANT OF VENICE 77 

Duke. You hear the learn'd Bellario, what he 
writes : 
And here, I take it, is the doctor come. 

Enter Portia, dressed like a doctor of laws. 
Give me your hand. Come you from old Bellario ? 

Portia. I did, my lord. 

Duke. You are welcome : take your place. 

Are you acquainted with the difference 
That holds this present question in the court .^^ 

Portia. I am informed throughly of the cause. 
Which is the merchant here, and which the Jew.? 

Duke. Antonio and old Shy lock, both stand forth. 170 

Portia. Is your name Shylock.? 

Shylock. Shylock is my name. 

Portia. Of a strange nature is the suit you follow; 
Yet in such rule that the Venetian law 
Cannot impugn you, as you do proceed. — 
[To Antonio] You stand within his danger, do you 
not.? 

Antonio. Ay, so he says. 

Portia. Do you confess the bond.? 

Antonio. I do. 

Portia. Then must the Jew be merciful. 

Shylock. On what compulsion must 1? tell me 
that. 

Portia. The quality of mercy is not strain'd; 
It droppeth as the gentle rain from heaven 180 

Upon the place beneath: it is twice bless'd; 
It blesseth him that gives, and him that takes: 
'Tis mightiest in the mightiest; it becomes 
The throned monarch better than his crown; 



78 MERCHANT OF VENICE [Act IV 

His sceptre shows the force of temporal power, 
The attribute to awe and majesty, 
Wherein doth sit the dread and fear of kings; 
But mercy is above this sceptred sway; 
It is enthroned in the hearts of kings. 
It is an attribute to God himself; 190 

And earthly power doth then show likest God's 
When mercy seasons justice. Therefore, Jew, 
Though justice be thy plea, consider this, — 
That in the course of justice none of us 
Should see salvation : we do pray for mercy. 
And that same prayer doth teach us all to render 
The deeds of mercy. I have spoke thus much 
To mitigate the justice of thy plea; 
Which if thou follow, this strict court of Venice 
Must needs give sentence 'gainst the merchant 200 
there. 

Shylock. My deeds upon my head! I crave the 
law. 
The penalty and forfeit of my bond. 

Portia. Is he not able to discharge the money? 

Bassanio. Yes, here I tender it for him in the 
court; 
Yea, twice the sum: if that will not suffice, 
I will be bound to pay it ten times o'er. 
On forfeit of my hands, my head, my heart: 
If this will not suffice, it must appear 
That malice bears down truth. And I beseech 

you. 
Wrest once the law to your authority: 210 

To do a great right do a little wrong. 
And curb this cruel devil of his will. 



Scene I] MERCHANT OF VENICE 79 

Portia. It must not be; there is no power in 
Venice 
Can alter a decree established: 
'Twill be recorded for a precedent; 
And many an error by the same example 
Will rush into the state. It cannot be. 

Shylock. A Daniel come to judgment! yea, a 
Daniel! 
O wise young judge, how do I honor thee! 

Portia. I pray you, let me look upon the bond. 220 

Shylock. Here 'tis, most reverend doctor; here it 
is. 

Portia. Shylock, there's thrice thy money offer'd 
thee. 

Shylock. An oath, an oath, I have an oath in 
heaven : 
Shall I lay perjury upon my soul ? 
No, not for Venice. 

Portia. Why, this bond is forfeit; 

And lawfully by this the Jew may claim 
A pound of flesh, to be by him cut off 
Nearest the merchant's heart. — Be merciful; 
Take thrice thy money; bid me tear the bond. 

Shylock. When it is paid according to the tenor. 230 
It doth appear you are a worthy judge; 
You know the law, your exposition 
Hath been most sound: I charge you by the 

law. 
Whereof you are a well-deserving pillar. 
Proceed to judgment. By my soul I swear 
There is no power in the tongue of man 
To alter me : I stay here on my bond. 



80 MERCHANT OF VENICE [Act IV 

Antonio. Most heartily I do beseech the court 
To give the judgment. 

Portia. Why, then, thus it is: 240 

You must prepare your bosom for his knife. 

Shylock. O noble judge! O excellent young man! 

Portia. For the intent and purpose of the law 
Hath full relation to the penalty 
Which here appeareth due upon the bond. 

Shylock. 'Tis very true: O wise and upright 
judge! 
How much more elder art thou than thy looks! 

Portia. Therefore lay bare your bosom. 

Shylock. Ay, his breast: 

So says the bond: — doth it not, noble judge .f* — 
Nearest his heart : those are the very words. 

Portia. It is so. Are there balance here to weigh 250 
the flesh.? 

Shylock. I have them ready. 

Portia Have by some surgeon, Shylock, on your 
charge, 
To stop his wounds, lest he do bleed to death. 

Shylock. Is it so nominated in the bond t 

Portia. It is not so expressed; but what of that ^ 
^Twere good you do so much for charity. 

Shylock. I cannot find it; 'tis not in the bond. 

Portia. Come, merchant, have you anything to 
say.? 

Antonio. But little; I'm arm'd and well pre- 
pared. — 
Give me your hand, Bassanio: fare you well! 260 
Grieve not that I am fallen to this for you; 
For herein fortune shows herself more kind 



Scene I] MERCHANT OF VENICE 81 

Than is her custom: it is still her use 

To let the wretched man outlive his wealth, 

To view with hollow eye and wrinkled brow 

An age of poverty; from which lingering penance 

Of such misery doth she cut me off. 

Commend me to your honorable wife: 

Tell her the process of Antonio's end; 

Say how I loved you, speak me fair in death; 270 

And, when the tale is told, bid her be judge 

Whether Bassanio had not once a love. 

Repent not you that you shall lose your friend, 

And he repents not that he pays your debt; 

For if the Jew do cut but deep enough 

I'll pay it instantly with all my heart. 

Bassanio. Antonio, I am married to a wife 
Which is as dear to me as life itself; 
But life itself, my wife, and all the world 
Are not with me esteem'd above thy life; 280 

I would lose all, ay, sacrifice them all 
Here to this devil to deliver you. 

Portia. Your wife would give you little thanks 
for that. 
If she were by, to hear you make the offer. 

Gratiano. I have a wife whom I protest, I love; 
I would she were in heaven, so she could 
Entreat some power to change this currish Jew. 

Nerissa. 'Tis well you offer it behind her back* 
The wish would make else an unquiet house. 

Shylock. [Aside] These be the Christian hus- 290 
bands. 
I have a daughter; 
Would any of the stock of Barrabas 



82 MERCHANT OF VENICE [Act IV 

Had been her husband rather than a Christian ! — 
We trifle time; I pray thee, pursue sentence. 

Portia. A pound of that same merchant's flesh is 
thine; 
The court awards it, and the law doth give it. 

Shyloch. Most rightful judge! 

Portia And you must cut this flesh from off his 
breast; 
The law allows it, and the court awards it. 

Shyloch. Most learned judge! A sentence! 300 
Come, prepare. 

Portia. Tarry a little; there is something else. 
This bond doth give thee here no jot of blood; 
The words expressly are ' a pound of flesh' : 
Take then thy bond, take thou thy pound of flesh; 
But, in the cutting of it, if thou dost shed 
One drop of Christian blood, thy lands and goods 
Are, by the laws of Venice, confiscate 
Unto the state of Venice. 

Gratiano. O upright judge! Mark, Jew: O 
learned judge! 

Shylock. Is that the law ?■ 

Portia. Thyself shall see the act: 310 

For, as thou urges t justice, be assured 
Thou shalt have justice, more than thou desirest. 

Gratiano. O learned judge! Mark, Jew: a 
learned judge! 

Shylock. I take this offer, then; — pay the bond 
thrice. 
And let the Christian go. 

Bassanio. Here is the money. 

Portia. Soft! 



Scene I] MERCHANT OF VENICE 83 

The Jew shall have all justice; soft! no haste: 
He shall have nothing but the penalty. 

Gratiano. O Jew! an upright judge, a learned 
judge! 

Portia. Therefore prepare thee to cut off the 320 
flesh. 
Shed thou no blood; nor cut thou less nor more 
But just a pound of flesh: if thou tak'st more 
Or less than a just pound, — be it but so much 
As makes it light or heavy in the substance, 
Or the division of the twentieth part 
Of one poor scruple, nay, if the scale do turn 
But in the estimation of a hair, — 
Thou diest, and all thy goods are confiscate. 

Gratiano. A second Daniel, a Daniel, Jew! 
Now, infidel, I have thee on the hip. 330 

Portia. Why doth the Jew pause ? take thy for- 
feiture. 

Shylock. Give me my principal, and let me go. 

Bassanio. I have it ready for thee; here it is. 

Portia. He hath refused it in the open court; 
He shall have merely justice and his bond. 

Gratiano. A Daniel, still say I; a second 
Daniel ! — 
I thank thee, Jew, for teaching me that word. 

Shylock. Shall I not have barely my principal .f* 

Portia. Thou shalt have nothing but the forfei- 
ture, 340 
To be so taken at thy peril, Jew. 

Shylock. Why, then the devil give him good of it ! 
I'll stay no longer question. 

Portia. Tarry, Jew: 



84 MERCHANT OF VENICE [Act IV 

The law hath yet another hold on you. 

It is enacted in the laws of Venice, 

If it be proved against an alien 

That by direct or indirect attempts 

He seek the life of any citizen, 

The party 'gainst the which he doth contrive 

Shall seize one half his goods; the other half 

Comes to the privy coffer of the state; 350 

And the offender's life lies in the mercy 

Of the duke only, 'gainst all other voice. 

In which predicament, I say, thou stand'st; 

For it appears, by manifest proceeding. 

That indirectly and directly too 

Thou hast contrived against the very life 

Of the defendant; and thou hast incurr'd 

The danger formerly by me rehearsed. 

Down, therefore, and beg mercy of the duke. 

Gratiano. Beg that thou mayst have leave to 360 
hang thyself: 
And yet, thy wealth being forfeit to the state. 
Thou hast not left the value of a cord; 
Therefore thou must be hang'd at the state's charge. 

Duke. That thou shalt see the difference of our 
spirits, 
I pardon thee thy life before thou ask it: 
For half thy wealth, it is Antonio's; 
The other half comes to the general state, 
Which humbleness may drive unto a fine. 

Portia. Ay, for the state; not for Antonio. 

Shylock. Nay, take my life and all; pardon not 370 
that: 
You take my house when you do take the prop 



Scene I] MERCHANT OF VENICE 85 

That doth sustain my house; you take my hfe 
When you do take the means whereby I hve. 

Portia, What mercy can you render him, Anto- 



nio 



Gratiano. A halter gratis; nothing else, for God's 
sake. 

Antonio. So please my lord the duke and all the 
court 
To quit the fine for one half of his goods, 
I am content; so he will let me have 
The other half in use, to render it, 

Upon his death, unto the gentleman 38o 

That lately stole his daughter; 
Two things provided more, — that, for this favor. 
He presently become a Christian; 
The other, that he do record a gift. 
Here in the court, of all he dies possessed. 
Unto his son Lorenzo and his daughter. 

Duke. He shall do this; or else I do recant 
The pardon that I late pronounced here. 

Portia. Art thou contented, Jew ? what dost thou 
say.? 

Shylock. I am content. 

Portia. Clerk, draw a deed of gift. 390 

Shylock. I pray you, give me leave to go from 
hence: 
I am not well; send the deed after me 
And I will sign it. 

Duke. Get thee gone, but do it. 

Gratiano. In christening, thou shalt have two 
godfathers; 
Had I been judge, thou shouldst have had ten more. 



86 MERCHANT OF VENICE [Act IV 

To bring thee to the gallows, not the font. 

[Exit Shylock. 

Duke. Sir, I entreat you with me home to dinner. 

Portia. I humbly do desire your grace of pardon : 
I must away this night toward Padua, 400 

And it is meet I presently set forth. 

Duke. I am sorry that your leisure serves you 
not. — 
Antonio, gratify this gentleman; 
For, in my mind, you are much bound to him. 

[Exeunt Duke and his Train. 

Bassanio. Most worthy gentleman, I and my 
friend 
Have by your wisdom been this day acquitted 
Of grievous penalties; in lieu whereof. 
Three thousand ducats, due unto the Jew, 
We freely cope your courteous pains withal. 

Antonio. And stand indebted, over and above, 410 
In love and service to you evermore. 

Portia. He is well paid that is well satisfied: 
And I, delivering you, am satisfied. 
And therein do account myself well paid; 
My mind was never yet more mercenary. 
I pray you, know me when we meet again; 
I wish you well, and so I take my leave. 

Bassanio. Dear sir, of force I must attempt you 
further; 
Take some remembrance of us, as a tribute. 
Not as a fee : grant me two things, I pray you, 420 

Not to deny me, and to pardon me. 

Portia. You press me far, and therefore I will 
yield. — 



Scene I] MERCHANT OF VENICE 87 

[To Antonio] Give me your gloves, I'll wear them 

for your sake; — 
[To Bassanio] And, for your love, I'll take this 

ring from you: 
Do not draw back your hand; I'll take no more; 
And you in love shall not deny me this. 

Bassanio. This ring, good sir, — alas, it is a trifle; 
I will not shame myself to give you this. 

Portia. I will have nothing else but only this; 
And now methinks I have a mind to it. 

Bassanio. There's more depends on this than on 430 
the value. 
The dearest ring in Venice will I give you, 
And find it out by proclamation; 
Only for this, I pray you, pardon me. 

Portia. I see, sir, you are liberal in offers : 
You taught me first to beg; and now methinks 
You teach me how a beggar should be answer'd. 
Bassanio. Good sir, this ring was given me by 
my wife; 
And when she put it on, she made me vow 
That I should neither sell nor give nor lose it. 

Portia. That 'scuse serves many men to save 440 
their gifts. 
An if your wife be not a mad- woman 
And know how well I have deserved this ring. 
She would not hold out enemy forever 
For giving it to me. Well, peace be with you! 

[Exeunt Portia and Nerissa. 
Antonio. My lord Bassanio, let him have the 
ring; 
Let his deservings and my love withal 



88 MERCHANT OF VENICE [Act IV 

Be valued 'gainst your wife's commandment. 

Bassanio. Go, Gratiano, run and overtake him; 
Give him the ring; and bring him, if thou canst. 
Unto Antonio's house: away! make haste. — 450 

[Exit Gratiano. 
Come, you and I will thither presently; 
And in the morning early will we both 
Fly toward Belmont: come, Antonio. [Exeunt. 

Scene II 

Venice. A street. 

Enter Portia and Nerissa. 
Portia. Inquire the Jew's house out, give him 
this deed 
And let him sign it; we'll away to-night 
And be a day before our husbands home. 
This deed will be well welcome to Lorenzo. 

Enter Gratiano. 

Gratiano. Fair sir, you are well o'erta'en: 
My Lord Bassanio upon more advice 
Hath sent you here this ring, and doth entreat 
Your company at dinner. 

Portia That cannot be: 

His ring I do accept most thankfully; 
And so, I pray you, tell him: furthermore, 10 

I pray you, show my youth old Shylock's house. 

Gratiano. That will 1 do. 

Nerissa. Sir, I would speak with you. — 

[Aside to Portia] I'll see if I can get my husband's 
ring. 



Scene II] MERCHANT OF VENICE 89 

Which I did make him swear to keep forever. 

Portia. [Aside to Nerissa] Thou mayst, I war- 
rant. We shall have old swearing 
That they did give the rings away to men; 
But we'll outface them, and outswear them too. — 
YAloud\ Away! make haste; thou know'st where 
I will tarry. 
Nerissa. Come, good sir; will you show me to 
this house? [Exeunt. 



ACT V 

Scene I 
Belmont. Avenue to Portia s house. 

Enter Lorenzo and Jessica. 

Lorenzo. The moon shines bright : in such a night 
as this, 
When the sweet wind did gently kiss the trees, 
And they did make no noise, — in such a night 
Troilus, methinks, mounted the Trojan walls, 
And sigh'd his soul toward the Grecian tents. 
Where Cressid lay that night. 

Jessica. In such a night 

Did Thisbe fearfully o'ertrip the dew. 
And saw the lion's shadow ere himself. 
And ran dismay 'd away. 

Lorenzo. In such a night 

Stood Dido with a willow in her hand 10 

Upon the wild sea banks, and waft her love 
To come again to Carthage. 

Jessica. In such a night 

Medea gather'd the enchanted herbs 
That did renew old ^son. 

Lorenzo. In such a night 

Did Jessica steal from the wealthy Jew, 
And with an unthrift love did run from Venice 
As far as Belmont. 

Jessica. In such a night 



Scene I] MERCHANT OF VENICE 91 

Did young Lorenzo swear he loved her well, 
Stealing her soul with many vows of faith, 
And ne'er a true one. 

Lorenzo, In such a night 20 

Did pretty Jessica, like a little shrew. 
Slander her love, and he forgave it her. 

Jessica, I would out-night you, did nobody come : 
But, hark, I hear the footing of a man. 

Enter Stephano. 
Lorenzo. Who comes so fast in silence of the 

night ? 
Stephano. A friend. 
Lorenzo. A friend! what friend .f^ your name, I 

pray you, friend .^^ 
Stephano. Stephano is my name; and I bring 
word 
My mistress will before the break of day 
Be here at Belmont; she doth stray about 30 

By holy crosses, where she kneels and prays 
For happy wedlock hours. 

Lorenzo. Who comes with her? 

Stephano. None but a holy hermit and her maid. 
I pray you, is my master yet return'd.f^ 

Lorenzo. He is not, nor we have not heard from 
him. — 
But go we in, I pray thee, Jessica, 
And ceremoniously let us prepare 
Some welcome for the mistress of the house. 

Enter Launcelot. 
Launcelot. Sola, sola: wo, ha, ho, sola, sola! 



92 MERCHANT OF VENICE [Act V 

Lorenzo. Who calls ? 40 

Launcelot. Sola! Did you see master Lorenzo? 
Master Lorenzo, sola, sola! 

Lorenzo. Leave hollaing, man; here. 

Launcelot. Sola! Where? where? 

Lorenzo. Here. 

Launcelot. Tell him there's a post come from 
my master, with his horn full of good news; my mas- 
ter will be here ere morning. [Exit. 

Lorenzo. Sweet soul, let's in, and there expect 
their coming. 
And yet no matter: why should we go in ? — 50 

My friend Stephano, signify, I pray you. 
Within the house, your mistress is at hand: 
And bring your music forth into the air. — 

[Exit Stephano. 
How sweet the moonlight sleeps upon this bank! 
Here will we sit and let the sounds of music 
Creep in our ears; soft stillness and the night 
Become the touches of sweet harmony. 
Sit, Jessica. Look how the floor of heaven 
Is thick inlaid with patines of bright gold : 
There's not the smallest orb which thou behold'st 60 
But in his motion like an angel sings, 
Still quiring to the young-eyed cherubins: 
Such harmony is in immortal souls; 
But whilst this muddy vesture of decay 
Doth grossly close it in, we cannot hear it. — 

Enter Musicians. 
Come, ho, and wake Diana with a hymn; 
With sweetest touches pierce your mistress' ear 



Scene I] MERCHANT OF VENICE 93 

And draw her home with music. [Music. 

Jessica. I am never merry when I hear sweet 
music. 

Lorenzo. The reason is, your spirits are attentive: 70 
For do but note a wild and wanton herd, 
Or race of youthful and unhandled colts. 
Fetching mad bounds, bellowing and neighing loud, 
Which is the hot condition of their blood; 
If they but hear perchance a trumpet sound. 
Or any air of music touch their ears, 
You shall perceive them make a mutual stand. 
Their savage eyes turn'd to a modest gaze 
By the sweet power of music: therefore the poet 
Did feign that Orpheus drew trees, stones, and 

floods; 80 

Since nought so stockish, hard, and full of rage. 
But music for the time doth change his nature. 
The man that hath no music in himself, 
Nor is not moved with concord of sweet sounds, 
Is fit for treasons, stratagems, and spoils; 
The motions of his spirit are dull as night. 
And his affections dark as Erebus: 
Let no such man be trusted. Mark the music. 

Enter Portia and Nerissa at a distance. 
Portia. That light we see is burning in my hall. 
How far that little candle throws his beams! 90 

So shines a good deed in a naughty world. 

Nerissa. When the moon shone, we did not see 

the candle. 
Portia. So doth the greater glory dim the less: 
A substitute shines brightly as a king 



94 MERCHANT OF VENICE [Act V 

Until a king be by; and then his state 
Empties itself, as doth an inland brook 
Into the main of waters. Music! hark! 

Nerissa. It is your music, madam, of the house. 
Portia. Nothing is good, I see, without respect; 
Methinks it sounds much sweeter than by day. 100 

Nerissa. Silence bestows that virtue on it, 

madam. 
Portia. The crow doth sing as sweetly as the lark, 
When neither is attended; and I think 
The nightingale, if she should sing by day, 
When every goose is cackling, would be thought 
No better a musician than the wren. 
How many things by season season'd are 
To their right praise and true perfection! — 
Peace, ho ! the moon sleeps with Endymion 
And would not be awaked! [Music ceases. 

Lorenzo That is the voice, 110 

Or I am much deceived, of Portia. 

Portia. He knows me, as the blind man knows 
the cuckoo. 
By the bad voice. 

Lorenzo. Dear lady, welcome home. • 

Portia. We have been praying for our husbands' 
welfare. 
Which speed, we hope, the better for our words. 
Are they return'd .^ 

Lorenzo. Madam, they are not yet; 

But there is come a messenger before. 
To signify their coming. 

Portia. Go in, Nerissa; 

Give order to my servants that they take 



Scene I] MERCHANT OF VENICE 95 

No note at all of our being absent hence; — 120 

Nor you, Lorenzo; — Jessica, nor you. 

[A tucket sounds. 
Lorenzo. Your husband is at hand; I hear his 
trumpet: 
We are no tell-tales, madam; fear you not. 

Portia. This night methinks is but the daylight 
sick; 
It looks a little paler; 'tis a day. 
Such as the day is when the sun is hid. 

Enter Bassanio, Antonio, Gratiano, and 

their Followers. 
Bassanio. We should hold day with the Anti- 
podes, 
If you would walk in absence of the sun. 

Portia. Let me give light, but let me not be light; 
For a light wife doth make a heavy husband, 130 

And never be Bassanio so for me; 
But God sort all ! You are welcome home, my lord. 
Bassanio. I thank you, madam. Give welcome 
to my friend. 
This is the man, this is Antonio, 
To whom I am so infinitely bound. 

Portia. You should in all sense be much bound 
to him. 
For, as I hear, he was much bound for you. 

Antonio. No more than I am well acquitted of. 
Portia. Sir, you are very welcome to our house: 
It must appear in other ways than words, 140 

Therefore I scant this breathing courtesy. 

[Gratiano and Nerissa talk apart. 



96 MERCHANT OF VENICE [Act V 

Gratiano. By yonder moon I swear you do me 
wrong; 
In faith, I gave it to the judge's clerk. 

Portia. A quarrel, ho, already! v>^hat's the mat- 
ter? 

Gratiano. About a hoop of gold, a paltry ring 
That she did give me; whose posy was 
For all the world like cutler's poetry 
Upon a knife, 'Love me, and leave me not.' 

Nerissa. What talk you of the posy, or the value ? 
You swore to me, when I did give it you, 150 

That you would wear it till your hour of death; 
And that^it should lie with you in your grave: 
Though not for me, yet for your vehement oaths. 
You should have been respective and have kept it. 
Gave it a judge's clerk! — but well I know 
The clerk will ne'er wear hair on's face that had it. 

Gratiano. He will, an if he live to be a man. 

Nerissa. Ay, if a woman live to be a man. 

Gratiano. Now, by this hand, I gave it to a youth, 
A kind of boy; a little scrubbed boy, 160 

No higher than thyself, the judge's clerk; 
A prating boy, that begg'd it as a fee; 
I could not for my heart deny it him. 

Portia. You were to blame, I must be plain with 
you. 
To part so slightly with your wife's first gift; 
A thing stuck on with oaths upon your finger 
And so riveted with faith unto your flesh. 
I gave my love a ring and made him swear 
Never to part with it; and here he stands; 
I dare be sworn for him, he would not leave it 170 



Scene I] MERCHANT OF VENICE 97 

Nor pluck it from his finger, for the wealth 
That the world masters. Now, in faith, Gratiano, 
You give your wife too unkind a cause of grief; 
An't were to me, I should be mad at it. 

Bassanio. [Aside] Why, I were best to cut my 
left hand off 
And swear I lost the ring defending it. 

Gratiano. My lord Bassanio gave his ring away 
Unto the judge that begg'd it and, indeed. 
Deserved it too; and then the boy, his clerk, 
That took some pains in writing, he begg'd mine: 180 
And neither man nor master would take aught 
But the two rings. 

Portia. What ring gave you, my lord? 

Not that, I hope, which you received of me. 

Bassanio. If I could add a lie unto a fault, 
I would deny it; but you see my finger 
Hath not the ring upon it; it is gone. 

Portia. Even so void is your false heart of truth. 
By heaven, I will never be your wife 
Until I see the ring. 

Nerissa. Nor I yours. 

Till I again see mine. 

Bassanio. Sweet Portia, 190 

If you did know to whom I gave the ring. 
If you did know for whom I gave the ring. 
And would conceive for what I gave the ring, 
And how unwillingly I left the ring, 
When naught would be accepted but the ring. 
You would abate the strength of your displeasure. 

Portia. If you had known the virtue of the ring. 
Or half her worthiness that gave the ring. 



98 MERCHANT OF VENICE [Act V 

Or your own honor to contain the ring, 

You would not then have parted with the ring. 200 

What man is there so much unreasonable. 

If you had pleased to have defended it 

With any terms of zeal, wanted the modesty 

To urge the thing held as a ceremony ? 

Nerissa teaches me what to believe; 

I'll die for't but some woman had the ring. 

Bassanio. No, by mine honor, madam, by my 
soul, 
No woman had it, but a civil doctor. 
Which did refuse three thousand ducats of me. 
And begg'd the ring; the which I did deny him, 210 
And suffer'd him to go displeased away; 
Even he that did uphold the very life 
Of my dear friend. What should I say, sweet 

lady.? 
I was enforced to send it after him; 
I was beset with shame and courtesy; 
My honor would not let ingratitude 
So much besmear it. Pardon me, good lady; 
For, by these blessed candles of the night. 
Had you been there, I think, you would have begg'd 
The ring of me to give the worthy doctor. 220 

Portia. Let not that doctor e'er come near my 
house : 
Since he hath got the jewel that I loved. 
And that which you did swear to keep for me, 
I will become as liberal as you: 
I'll not deny him anything I have. 

Nerissa. And I his clerk; therefore be well ad- 
vised. 



Scene I] MERCHANT OF VENICE 99 

How you do leave me to mine own protection. 

Gratiano. Well, do you so: let not me take him 
then; 
For, if I do, I'll mar the young clerk's pen. 

Antonio. I am the unhappy subject of these quar- 
rels. 230 

Portia. Sir, grieve not you; you are welcome 
notwithstanding. 

Bassanio. Portia, forgive me this enforced wrong; 
And, in the hearing of these many friends, 
I swear to thee, even by thy own fair eyes. 
Wherein I see myself, — 

Portia. Mark you but that! 

In both my eyes he doubly sees himself: 
In each eye one : — swear by your double self, 
And there's an oath of credit. 

Bassanio. Nay, but hear me. 

Pardon this fault, and by my soul I swear 
I never more will break an oath with thee. 240 

Antonio. I once did lend my body for his wealth; 
Which, but for him that had your husband's ring, 
Had quite miscarried: I dare be bound again. 
My soul upon the forfeit, that your lord 
Will never more break faith advisedly. 

Portia. Then you shall be his surety. Give him 
this; 
And bid him keep it better than the other. 

Antonio. Here, lord Bassanio; swear to keep 
this ring. 

Bassanio. By heaven, it is the same I gave the 
doctor! 

Portia. You are all amazed: 250 



100 MERCHANT OF VENICE [Act V 

Here is a letter; read it at your leisure; 

It comes from Padua, from Bellario: 

There you shall find that Portia was the doctor; 

Nerissa there her clerk: Lorenzo here 

Shall witness I set forth as soon as you 

And even but now return'd; I have not yet 

Enter'd my house. — Antonio, you are welcome; 

And I have better news in store for you 

Than you expect: unseal this letter soon; 

There you shall find three of your argosies 260 

Are richly come to harbor suddenly: 

You shall not know by what strange accident 

I chanced on this letter. 

Antonio. I am dumb. 

Bassanio. Were you the doctor, and I knew you 
not.^ 

Antonio. Sweet lady, you have given me life and 
living; 
For here I read for certain that my ships 
Are safely come to road. 

Portia. How now, Lorenzo! 

My clerk hath some good comforts too for you. 

Nerissa. Ay, and I'll give them him without a 
fee. — 
There do I give to you and Jessica, 270 

From the rich Jew, a special deed of gift, 
After his death, of all he dies possessed of. 

Lorenzo. Fair ladies, you drop manna in the way 
Of starved people. 

Portia. It is almost morning, 

And yet I am sure you are not satisfied 
Of these events at full. Let us go in; 



Scene I] MERCHANT OF VENICE 101 

And charge us there upon inter'gatories, 
And we will answer all things faithfully. 

Gratiano. Well, while I live I'll fear no other 
thing 
So sore as keeping safe Nerissa's ring. 280 

[Exeunt, 



DETAILED QUESTIONS ON THE PLAY 

Act I. Scene 1. 1. What weighs on Antonio's mind as the 
play opens? 

2. What does Bassanio want of Antonio? 

3. How should "Believe me" in line 76 be read so as to show its 
difference from the current slang expression? 

4. How does the first scene appear to be a key-note for the rest 
of the play? 

Act I. Scene 2. 1. What is the cause of Portia's weariness of 
which she speaks in her opening lines? 

2. What does this scene show regarding the circumstances of 
Portia's life up to this time? 

3. What does the scene show regarding Portia's attitude to 
Bassanio? 

Act I. Scene 3. 1. What does Bassanio want of Shylock? 

2. What is Shylock's attitude toward Antonio? 

3. What is the important point in the conclusion of the arrange- 
ment for a loan by Shylock to Antonio? 

4. What did the Rialto stand for in the mind of the dramatist as 
shown by this scene and by the first scene of the third act? 

5. How do you think the "public place" should be represented 
on the stage? 

6. When did the devil cite Scripture? 

7. Why does the scene end with a couplet? 

Act II. Scene 1. 1. What were the conditions under which 
Portia's hand was to be obtained in marriage? 

2. What do the allusions in Morocco's second speech mean? 

3. Why does not Shakespeare have Morocco choose a casket in 
this scene? 

Act II. Scene 2. 1. What light does this scene throw on the 
character of Shylock? 

2. What does the scene show about Bassanio's plans? 

3. How do you account for the shiftings from prose to verse? 



104 QUESTIONS 

4. What is the author's purpose in including the clown Launcelot 
among the characters of the play? 

5. What does Launcelot do when he says, "You may tell every 
finger I have with my ribs"? 

Act II. Scene 3. 1. What additional information about the 
character of Shy lock do you glean from this scene? 

2. What sort of room would you have on the stage here? 

Act II. Scene 4. 1. What does the scene show about Lorenzo's 
plans? 

2. What idea have you of a Venetian masque? 

Act II. Scene 5. 1. What traits does Shy lock show while he 
talks to Jessica here? 

2. What meaning do you get from Launcelot's speeches? 

Act II. Scene 6. 1. What sort of person does Gratiano appear 
to be? 

2. What is Jessica planning to do? 

3. In what respects are her actions like the action of the Israelites 
when they left Egypt? 

Act II. Scene 7. 1. Why did Morocco choose the golden casket? 

2. What harm does the love of gold do in this play? 

3. What is the difference between proper self-appreciation and 
conceit? 

4. What is there to show that other persons before Morocco had 
tried to make the right choice? 

5. Did Portia know which casket contahied her picture? 

Act II. Scene 8. 1. What is the significance of Salarino's saying 
that he had heard of the wreck of a richly laden merchant vessel? 

2. How much time has elapsed since the signing of the bond? 

3. What are the relations between Antonio and Bassanio as 
evidenced by this scene? 

Act II. Scene 9. 1. To what "election" does Arragon come? 

2. What do you think of the Prince of Arragon? 

3. What justification can you give for the reasoning that led 
Arragon to choose the silver casket? 

4. Why is the "schedule" in a different verse form from that 
usual in the play? 



QUESTIONS 105 

5. What opinion have you formed of Portia from her deport- 
ment while the ceremony of the choosing of the caskets by Morocco 
and Arragon has been going on? 

Act III. Scene 1. 1. How does it come about that Shylock is 
alternately elated and depressed during this scene? 

2. Are your sympathies aroused for Shylock? 

3. What is the substance of Shylock's speech that begins with 
the phrase, "To bait fish withal"? 

4. How do Salanio and Salarino differ from each other and from 
other characters in the play? Do these men seem as real, flesh and 
blood people as other persons of the drama? 

5. How does this scene prepare you for something that is to 
follow? 

Act III. Scene 2. 1. What led Bassanio to choose the leaden 
casket? 

2. Under what circumstances do boys and girls nowadays have 
to make choices corresponding in any respects with Bassanio's 
choice? 

3. What is there to admire in Portia's words and conduct? 

4. Who sings the song? 

5. What help did the song give to Bassanio? 

6. Why did Portia give Bassanio a ring? 

7. What is the dramatic use of the letter that Bassanio received? 

8. What two leading characters of the play are not on the stage 
during this scene? 

9. After this scene, how should the play in your opinion be con- 
cluded? 

10. Why is not the marriage performed on the stage? 

Act III. Scene 3. 1. Why does the dramatist have Shylock 
keep saying, "I'll have my bond"? 

2. What silent person is on the stage in this scene? 

3. Why does he not take part in the conversation? 

4. What do you find to praise in Antonio's manner? 

Act III. Scene 4. 1. What was Portia's plan? 

2. How far was Belmont from Venice? 

3. How does the author try to make the carrying out of the 
plan seem plausible? 

4. What speech of Portia's sounds something like a speech of 
Rosalind's in As You Like It ? 



106 QUESTIONS 

5. Has Portia seemed to you to grow in womanliness as the story 
has developed? 

Act III. Scene 5. 1. Which interest seems to you the stronger 
in the third act — the matter of the caskets or the matter of the 
loan? 

2. Of what dramatic use is the fifth scene of the act? 

3. Which of the three characters of the scene shows the keenest 
wit? 

Act IV. Scene 1. 1. Where on the stage would you place the 
characters that take part in this scene? [Draw a sketch showing 
the position of each.] 

2. What gestures or motions would be appropriate for each 
character as determmed by the words spoken? 

3. As if you were a spectator, tell just what happened in the 
court of justice. 

4. What humorous incidents occurred during this long scene? 

5. What improbabilities do you detect? 

6. What was the sentence pronounced by Portia on Shylock? 

7. In what respect does the sentence seem to you unjust? 

8. What names do various characters of the play call Shylock? 
Which of these are in your opinion undeserved by him? 

9. Which speech of Portia's and which speech of Antonio's do 
you find most pleasing in this scene? Why pleasing? 

10. How are love and revenge contrasted in the scene? 

11. What legal right had Portia to be a lawyer in the play? 

Act IV. Scene 2. 1. Why is the giving of the rings put here in 
a scene by itself? 

2. W^hy does not the play end with the decision in the court of 
justice? 

3. Was Bassanio right in giving the ring to the lawyer? 

Act V. Scene 1. 1. Describe a moonlight night at Belmont. 

2. How does this scene give a sense of calm repose to the con- 
clusion of the story? 

3. What beautiful, poetic effects would be lost if this scene were 
not included in the play? 

4. What sprightly fun comes at the end of the play? 

5. Which characters of the play "lived happily ever after"? 



COMMENTS, TOPICS, AND GENERAL 
QUESTIONS ON THE PLAY 

Dramatic Element, 1. (a) What is the meaning of each of 
the following: — literature, poetry, drama, and comedy ¥ 

(b) Discuss The Merchant of Venice as a comedy. 

(c) What do you know about plays and theaters? 

{d) What has the theater meant to you up to this time? 

2. (a) Sir Henry Irving took in as gross receipts about $3,500,000 
from performances of Shakespearian plays. How do you account 
for the continuing popularity of Shakespeare's plays? 

(6) What disadvantages has a moving picture presentation of 
The Merchant of Venice in comparison with a regular theatrical 
performance? What advantages? 

(c) What gain is there through the presentation of the story of 
The Merchant of Venice in the form of a play rather than in the form 
of a novel? 

3. A theatrical manager lately offered to buy good plays pre- 
ceded by interesting 250-word synopses. Write for The Merchant 
of Venice such an interesting synopsis that it would be likely to 
make a manager want to read the play itself. 

4. Who is the best Portia playing this season? The best Shylock? 
Whom have you seen taking these parts? Why does the leading 
actor select the part of Shylock for himself? 

5. Mention an interesting play written by one of the following 
Elizabethan dramatists: Marlowe, Lyly, Peele, Kyd, Greene, Lodge, 
Jonson, Chapman, Dekker, Middleton, Heywood, Beaumont and 
Fletcher, Massinger, and Webster. 

6. Richard Mansfield made Shylock "a creature of intense hatred, 
an instrument of malignant revenge for personal injury." Criticize 
this ideal of Shylock. 

7. Mansfield as Shylock "wore a bristly, grizzled beard; sparse, 
iron-gray hair curled about his ears and neck; his eyes were keen 
and restless; there were the deep lines of an implacable nature written 
on his visage. About his form hung the long skirts of his dull-brown 
gaberdine." How does this idea of Shylock's appearance accord 
with your own? 

8. What part of the play would you like to take? Reasons. 



108 COMMENTS AND TOPICS 

9. If you were stage manager for an amateur performance of 
the play, what arrangements would you make for scenery and cos- 
tumes? 

10. Make note of several passages that are so good as poetry or 
so interesting as comedy that you think they deserve to be read 
aloud or spoken from memory. What scenes do you enjoy most 
when they are informally presented in the class room under the 
direction of one of the pupils for the special entertainment of the 
teacher and the members of the class who are not assigned parts.'' 

11. Where is this play sometimes presented now very much as 
it was in Shakespeare's time.'' 

12. What scenes could be omitted without spoiling the onward 
action of the story.? 

The English Used. 13. In what respects does Shakespeare's 
grammatical standard seem to you different from your own gram- 
matical standard.'* For example, would you say, "there be land-rats 
and water-rats"? Point out as many instances as you can where 
your way of saying a thing would be different from that in the play. 

14. In what respects does Shakespeare's rhetorical standard seem 
less strict than yours? For instance, would you say, "As they fly 
by them with their woven wings," when the they refers to argosies and 
the them refers to traffickers? 

15. In what respects does Shakespeare's use of words differ from 
yours? Give illustrations of his use of words in senses different 
from the meanings with which you are acquainted. For instance, 
look at the word still in line 136 of Act I, Scene 1. 

16. Make a glossary containing twenty-five words that either 
seem to you in the play to be used in peculiar senses or else seem 
strange and difficult themselves. Include, for example, such words 
as these of the first scene: argosies, traffickers, alabaster, gudgeon, 
presages. Be sure to arrange them in strict alphabetical order, as a 
glossary should be arranged, and give as clear, crisp definitions as 
you can. 

17. Note the allusions to classical stories in such lines as, "Though 
Nestor swear the jest be laughable," where the speaker refers to 
Nestor as the oldest and gravest of the Greeks who took part in the 
Trojan war — any dictionary of proper names will show you this; 
"Which makes her seat of Belmont Colchos' strand," where the 
reference is to the old story of the golden fleece — Belmont, the 
home of the rich heiress, is compared with Colchos, the land where 
the golden fleece was kept; "Should fall as Jacob's hire," where the 
speaker is making use of a reference to a story in the Bible; "Where 
Phoebus' fire scarce thaws the icicle," where the word Phoebus refers 



COMMENTS AND TOPICS 109 

to the sun, according to a classical story which can easily be found 
in any book of classical mythology, like Gayley's valuable work. 
What other classical allusions do you find in the play? 

18. Give several illustrations of verbal embroidery, that is, 
figurative expressions, in the third act. 

19. Using the same kind of versification predominant in the play, 
compose a speech to be spoken by Portia in place of one of her speeches 
of the fourth act. 

Contents of the Play. 20. (a) Enumerate the characters 
concerned in the first main plot of the play; the second main plot. 

(b) Name two characteristics of each of the following persons of 
the drama, and explain how each trait appears from the words or 
actions, or from both the words and actions, of the character: 
Antonio, Shylock, Bassanio, Portia, Lorenzo, Jessica, Gratiano, 
Nerissa, and Launcelot. 

(c) Can you name two more essential characteristics for Shylock 
than these two — miserliness and revengefulness.^ 

21. Group the characters in divisions according to some scheme 
of your own. 

22. Portia has been called mentally superior to every other 
character in the play. Do you consider her so.-^ Reasons. 

23. Why would it be fair or unfair to call Bassanio a fortune- 
hunting adventurer.' 

24. What good word can you say for Shylock? 

25. Of the three love stories in the play, which one illustrates the 
old adage, "The course of true love never runs smooth"? 

26. Would you call either revenge or justice the central idea or 
theme of the whole play? If neither of these satisfies you, what do 
you consider to be the theme? 

27. As an exercise in the valuation of words and ideas, reduce 
the action of the entire play to a concise summary of one hundred 
words. 

28. Summarize each plot in two hundred words. 

29. Comment on this as a summary of one plot: " The borrowing 
of a sum of money by a wealthy merchant of Venice to equip a young 
friend for the courtship of a rich and beautiful lady." Compare 
this kind of summary with the sort given in the Introduction, 
page XV. 

30. The winning of an heiress by means of a choice of caskets. 

31. Pathos in the play, 

32. Portia's suitors. 

33. Describe Portia. 

34. The clown's part. 



110 COMMENTS AND TOPICS 

35. Write a topical outline for a narrative of the ring story. 

36. Gobboisms. 

37. Puns in the play. 

38. Imaginative word-picture of the scene at the moment when 
Bassanio chose the right casket. 

39. Make a table showing eight different days on which events 
of the play happen, and estimate the intervals of time that probably 
elapse between some of these days. 

40. Paraphrase the quality of mercy speech. 

41. Describe what could have been seen in the court of justice 
at the most exciting moment of the trial. 

42. From the play, what do you learn about Venice? About 
Belmont? 

43. In what particulars do you consider the first act a good in- 
troduction for the play? 

44. What is the artistic use of the fifth act? 

45. What debatable propositions can you frame based on the 
play? 

46. Why did Shakespeare have Morocco ready to choose a casket 
in the first scene of the second act, and then make the audience 
wait till the seventh scene before the showing of the actual selection 
of the gold casket by Morocco? 

47. Copy the expressions or the short detached passages that 
you have seen or heard quoted from this play. 

48. Copy two longer selections, each of ten or more consecutive 
lines, that would be worth committing to memory. Learn one of 
these selections. 

49. Comment on the following opinion of the play: "The great 
lesson of life is taught, and the last act of the play opens with the 
Jew and the Gentile, representing any two forms of bitter antagonism, 
in embrace of love under the calm expanse of heaven." (See page 
xiv, of Introduction.) 

50. What great lesson of life do you discover in the play? 



PROGRAM OF DRAMATIC ENTERTAINMENT 

The Merchant of Venice 

by 

William Shakespeare 

as enacted by 

The 2A Latin Boys in English Class 

January, 1914 

at the 

Richmond Hill High School 

Scene 1 
From page 7, Line 119. Antonio. Well, tell me now, what lady 

is the same . . . 
Through page 9, Line 185, Antonio. And I no question make, 

to have it at my trust or for my sake. 

Scene 2 
From page 14, Line 1. Shylock. Three thousand ducats, — 

well . . . 
Through page 20, Line 176. Antonio. My ships come home a 

month before the day. 

Scene 3 
From page 51, Line 1. Portia. I pray you, tarry . . . 
Through page 62, Line 317. Portia. O love, dispatch all busi- 
ness, and be gone. 

Scene 4 
From page 75, Line 116. Duke. Came you from Padua, from 

Bellario . . . 
Through page 86, Line 417. Portia. I wish you well, and so 

I take my leave. 

Notes by the Coach 
A committee of five was selected by the class three weeks before 
the play was given. A chairman, a secretary, and a coach, all 



112 MERCHANT OF VENICE 

of whom were members of the student committee, were appointed 
by the committee. 

It was decided that by the use of the foregoing selected portions 
of the play the main parts of the story could be given in a single 
period of forty minutes. 

The cast of the characters and the list of scenes to be presented 
were printed on the board before the beginning of the regular 
recitation period that had been assigned by the teacher for this 
entertainment. 

The introduction to the play and the description of the scenes 
were given by the coach. [Raymond Browne was the coach, and 
Howard Malmar was the chairman. — Editor.] 
The properties needed were: 
A big knife [for Shylock]. 

Three caskets [colored paste-board boxes served for these]. 
A scroll. 
A letter. 
The general directions given to the actors by the coach were: 
Keep your self-possession. 

Face the audience, but do not seem to be looking at individ- 
uals. 

Speak distinctly so that the audience can understand what 
you say. 

Imagine yourself to be the person acting, and act as if you 
were. 

Before the first scene the coach said : 

Doctor Gaston and Class-mates, — The dramatic committee 
selected by the class will present to you The Merchant of Venice. 
The cast of characters and the scenes to be presented are on the 
black-board. The students who present this play this afternoon 
wish me to say that their aim is to give you a boys' interpretation 
of the old play by William Shakespeare. The costumes you will 
see have not arrived; the properties are scarce. Imagine for the 
first scene a public park, surrounded by noble Venetian houses of 
imposing appearance, a marble fountain playing in the centre. 

Before the second, third, and fourth scenes the coach spoke as 
follows: 

Scene 2. A quiet place upon the Rialto island. A part of the 
marble structure at the side of the bridge going over the canal 
forms a pleasing background. 

Scene 3. A sumptuous apartment in Portia's home. Rich in 
draperies and furnishings, it is a fitting setting for the game of 
chance to be played there, in which the prize is the beautiful 



DRAMATIC ENTERTAINMENT 113 

Portia herself. In this room are three caskets; one gold, one 
silver, and one lead. In one of these is a portrait of Portia. 
Whichever one of Portia's suitors chooses this casket may claim 
Portia for his bride. The golden and silver ones have already 
been chosen without success by other suitors. Now comes Bas- 
sanio to try his fortune. He does not know, of course, which 
casket is the lucky one, and his choice is shown in this scene. 

Scene 4. The Venetian court. A long hall of stone, dimly 
lighted by large stained-glass windows. There is a high desk for 
the judge, and there are several smaller ones for other dignitaries. 
Near this desk is the prisoner's box. It is in this court that An- 
tonio, the Merchant of Venice, is to be tried for default of pay- 
ment of the bond. The Jew, Shylock, has dropped his mask of 
pretended merriment, and now demands the pound of flesh stipu- 
lated in the bond. 



GLOSSARY 

Alcides, another name for Hercules. 

Andrew, name given to a large ship that was used for commerce. 

argosies, large merchant ships. 

baned, poisoned. 

'bated, reduced, lowered. 

burghers, freemen of a burgh or borough; citizens. 

cater-cousins, intimate friends. 

cerecloth, cloth dipped in melted wax and used for wrapping a 
dead body. 

Charybdis, a dangerous whirlpool on the Sicilian coast, oppo- 
site Scylla; personified as a female monster. 

Colchos, a mythical land east of the Black Sea to which Jason 
went in quest of the golden fleece. Also called Colchis. 

commends, compliments, greetings. 

compromised, bound by an agreement. 

continent, that which holds or contains. 

Cressid, a beautiful young Trojan woman, faithless to her lover, 
Troilus. 

Cupid, the god of love. He was the son of Venus. 

Dardanian wives, Trojan women. 

Diana, Roman goddess of motherhood. 

Dido, queen of Carthage, deserted by ^Eneas. See Virgil's 

doit, coin of little value. 

dulcet, sweet to the ear. 

dmnb-show, pantomime; a dramatic representation with action 
but no talking. 

eanlings, newborn lambs. 

eke, increase, extend. 

Endymion, a young shepherd loved by the moon goddess, who 
caressed him while he was in an enchanted sleep. 

Erebus, gloomy dark space through which souls pass to 
Hades. — Greek mythology. 

fall, let fall, give birth to. 

fear'd, caused to fear. 

flats, shallows, shoals. In the United States, the term is now 



GLOSSARY 115 

applied to the shallows at the mouth of the St. Clair River, where 
it empties into Lake St. Clair; these shallow places are called 
"The Flats." 

frutify, perhaps for certify. Launcelot has a knack for getting 
words twisted. 

gaberdine, coarse loose coat. 

gear, affair, business. 

Goodwins, shallows east of southern England. 

gramercy, a word expressing surprise or thanks. 

guarded, ornamented with lace. 

gudgeon, small fish of little value, 

habit, dress. 

Hercules, Greek hero, celebrated for his strength. 

Hyrcanian deserts, region south of the Caspian Sea. 

Janus, Roman god of gates and doors; represented with two 
opposite faces. 

Jasons, an allusion to the story of Jason who in Greek mythol- 
ogy won the golden fleece. 

knapped, nibbled or gnawed. 

Lichas, page of Hercules. 

magnificoes, chief men of Venice. 

mantle, take on a covering, as of froth or scum; about the 
same as cream, in the same line of the play. 

Mars, the god of war. 

Medea, an enchantress, in Greek mythology. She helped 
Jason to win the golden fleece and later restored his aged father, 
Aeson, to youthful strength by putting juices of magic herbs in 
his veins. 

mere, nothing other or less than; unqualified. 

Midas, an ancient king, who in Greek mythology asked that 
everything he touched might be turned to gold but who asked 
that this power might be taken away from him when he found 
that his food turned to gold. 

moe, more. 

moiety, a half or an indefinite part. 

Nazarite, Jesus, who drove the evil spirits into the herd of 
swine. See Matthew 8: 32. Nazarite strictly means a man who 
does not cut his hair. Jesus is now called a Nazarene, or Man of 
Nazareth. 

Nestor, wise old hero of the Trojan war. See Homer's Odyssey. 

Orpheus, a Thracian musician who, according to old mythol- 
ogy, had the power of charming beasts and making rocks and trees 
move to the sound of his lyre. 



116 GLOSSARY 

ostent, air, manner. 

pageants, movable structures on which plays were performed 
in the streets; often in the shape of towers, castles, or ships. 

patch, jester, domestic fool. 

patines, plates. 

peize, weigh down, retard, delay. 

pied, with large blotches of two or more colors; parti-colored, 
spotted. 

port, bearing, demeanor. 

posy, motto inscribed on a ring. 

presages, foretells, predicts. 

presently, immediately, at once- 
prevented, anticipated. 

publican, collector of toll. 

Pythagoras, a Greek philosopher who believed in the trans- 
migration of souls. 

quiring, singing in concert, as a choir. 

rasher, thin slice of bacon or ham. 

regreets, greetings. 

rheum, discharge from nose of person having a cold. 

Rialto, the Venetian island where "merchants most do con- 
gregate," now the name of a bridge over the Grand Canal in 
Venice. 

scanted, limited. 

scrubbed, stunted, scrubby. 

scruple, a small weight, 20 grains. 

Scylla, a dangerous rock on the Italian coast; personified as a 
sea monster encircled by barking dogs. 

sensible, tangible, perceptible to the senses. 

Sibylla, sibyl; a prophetess who wanted to live for many years. 

signiors, lords, fine gentlemen. 

sonties, sanctity. 

Sophy, Persian emperor; derived from soffi,, wise man. 

sort, arrange, dispose. 

stead, help. 

still, always, continually. 

strange, reserved, distant in bearing or manner. 

Thisbe, a Babylonian maiden who when going to meet her 
lover, Pyramus, saw a lion that had been eating an ox. Thisbe 
fled, leaving her veil behind. When Pyramus came to the meet- 
ing place and saw the lion with the veil in his bloody mouth, he 
killed himself. Then Thisbe came back, and, seeing Pyramus 
dead, killed herself also. Chaucer tells the story in his Legende of 



GLOSSARY 117 

Goode Women. See also Ovid's Metamorphoses and Shakespeare's 
Midsummer Night's Dream. 

tranect, ferry. 

Troilus, son of Priam of Troy; an allusion to a good story told 
by Shakespeare in his play, Troilus and Cressida, and by Chaucer 
in his poem, Troylus and Cryseyde. 

usance, interest, usury. 

vailing, letting down. 

Venus' pigeons, doves that drew the chariot of Venus, the 
goddess of love. 

virgin tribute, an allusion to the rescue by Hercules of a young 
Trojan woman who had been chained by her father to a rock, to 
be devoured by a sea monster, as a tribute to Neptune, the god 
of the sea. 

waft, wafted. 

want 'wit, dunce, simpleton. 

wauling, wailing, howling, mewling. The Variorum reads 
"woolen"; sometimes bagpipes had a woolen covering. 

weeping philosopher, Heraclitus, who was a melancholy Greek 
philosopher accustomed to mourn over the follies of mankind. 



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